Since the boat is unstuck here’s some ways to become unstuck while writing. For me, most of it is planning • ask yourself a question you haven’t answered about the scene or storyline then answer it (helps w overwhelm) • solve the scene structure (beg,mid,end & pivots to each)
•Ask how can this reveal character psychology or objective, stakes or progress story/plot? • Ask: what would REALLY happen? (Not what’s convenient for me to get to my next plot point) • Cut it and see if it has any consequences • Reduce the characters in the scene to vitals
• Read and research stuff you’re interested in, related or unrelated. • Take a walk, drive, wash dishes, nap• Set shorter goals • Find music that evokes images or feelings • Quickly toss out ideas without judging them or yourself • Change the POV of a scene to someone else
Take a break• Find something funny, sexy, visual, absurd, emotional, suspenseful, interesting, psychological that wasn’t there before. • rethink structure • think of your autobiography that’s relatable • find something aspirational from your hopes and make us feel that
Remind yourself why you started writing it to begin with. Is that there? If not, how can you show it or tell it? • What is on your mind in current events? Can someone say that? • Make things go worse • Make them more clever • Show why they care
I’ll try to think of more, but these are some strategies I’ve tried that helped me. Have a great week, writers!

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More from @MonicaBeletsky

22 Feb
A few weeks ago @edithdrod asked me how she might rewrite her scripts so the protagonist is more active as early as possible. A note she was getting. I think an answer to this is present a choice they need to make, show their choice and how it reveals their character
I learned this thing about choices and revealing character from an episode of @writealongpod where Cargill breaks it down so simply it’s endlessly useful.
For example a recent one I wrote was a protagonist getting good news and showing they could not hold on to it before vetting it was okay to share that news. It allowed me to play some backstory (good news) and reveal their character flaw is being compulsive and over confident.
Read 4 tweets
17 Feb
Basically there's two ways to be a star on a TV staff. Write outlines and scripts the showrunner barely has to rewrite. Pitch storylines, scenes, images, emotional payoffs, solve story issues etc, that keep landing in the show.
When I was first working, I was quickly very good at the second. I would regularly pitch stories that landed in episodes, scenes, emotional moments, funny lines, etc. I was much stronger in the room than on the page. Somehow I could improv the show outloud better than I wrote.
One day, we were told we were behind and had to turn in an outline by the end of the day we hadn't started. That put the fire in me and I learned to write on cue. I got better and better at outlines over a few shows.
Read 8 tweets
14 Feb
One of my BFF lost her Valentine to a sudden tragedy a few weeks ago after letting herself believe in ❤️ again. I know many people are struggling now. If you’re someone who has something to spare, it would mean a lot to fund the Penn scholarship friends/fam hope to create.
Greg helped Philly public high school students launch their business ideas and provided early exposure to financial literacy. Additionally, he was one of the producers & hosts of the first-ever Bridges To Wealth podcast & blog series.
Read 4 tweets
21 Oct 20
Here's how I do a TV series pitch document (format):
TITLE
THE SERIES (what the show is, tone, why it's cool/relevant)
LEADS (character descrips w actor reading it in mind)
CREATOR'S NOTE (why I can write it)
PILOT SUMMARY
PILOT OUTLINE
SUMMARIES OF NEXT EPS (stories, arcs)
Sometimes to sell a pilot, I've just done a pre-format pitch -- basically everything but the last 3 things. Then added those 3 items for the format. This was short, like 2-5 pp, other times, longer. The format, more like 20pp or more.
PS: For future episodes, I find it useful for execs if you summarize the summary first. Like a good description you might see when you select a streaming episode (the basic storylines) then go into the details. For the series, it helps to bring up structure.
Read 7 tweets
24 Jun 20
When I write a scene ill lay out everything that needs to happen. When I REVISE: I find ways to reveal character, more obstacles & conflict, remove what’s not interesting enough or necessary, dig deeper into an emotional set up or pay off then hone a landing or end/point of it
Writing down a bunch of stuff that happens is not a scene. for the scene to be elevated everything has to be there not just because it could happen because it has to and because it’s furthering character story conflict emotion a set up or a pay off
I’ll also add visuals as if the sound were off but you could understand it and I’ll rewrite it psychologically —how can I enhance how it’s being told cinematically through the character’s point of view. Oh sometimes stuff can be cut that’s interesting but not necessary (research)
Read 4 tweets
13 Mar 20
TV writers: were you staffed once or a few times or been writing assistants for awhile and feel stuck? I’m gonna try to help bc this is a common DM I get. Not big picture advice but as far as scripts and things you might be able to control. I’ll do a Q&A on this topic only after.
Okay so maybe you have a manager but you’re not getting meetings, or you fired your manager bc they weren’t doing much. Maybe your sample got some traction but nothing solid happened. Maybe you’ve been out of work for a moment. Maybe you can’t seem to get promoted.
What can you control? Your work. Your self. Who you know (who likes you). How your work and your self are perceived to match what and who people need on staff.
Read 20 tweets

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