Anthony John Orlando: Screenwriter, author and videographer in Oradell, New Jersey.

Exchange scripts and talk about them. You will see everyone has doubts. Keep running or you will get out of shape.

Hi Zorrawa,

It sounds to me like you have the makings of a good writer. From what I've learned they're all critical of their own work. I have the same doubts, so know that you're not alone, and keep writing.

There's no such thing a a perfect script. There will never be perfection because you can't please everyone. You write, rewrite, get feedback, and start again. You read and practice and get tips. If a majority of people like it, then you're going in the right direction.

Confidence comes when you know that you've done your best at trying improving your craft. That you have practiced and been critiqued and survived. If you can write something that evokes emotion in others, then you have succeeded as a writer.

I want to thank you to everyone who gave their suggestions, you all made great points and I greatly appreciate all of them. I think I might have fallen in love with some of the characters and scenes too much, I'm going to take a step back and be brutally honest what moves the story forward and what doesn't. Thank you again.

I find it really helpful to look at each scene and figure out what its purpose is (is it exposition or is it driving the plot forward) and what has changed after the scene has ended. Also just going through tightening up dialogue and description can shave off so many pages before you have to cut any scenes. For example I had a line:

"How are we gonna do this Spence? Easy way or hard way?"

And the second part of that line just repeats the idea from the first part of the line, cutting it to:

"How are we gonna do this Spence?"

And immediately that moment felt stronger and I had lost a whole line's worth of space on the page.

Good luck!

You need to figure out which parts of your story are most important. Good luck.

Sounds to me like the issue is psychological and you already know that, Anthony. You're suffering self doubt that's tying you in knots.

In the creative arts, this typically comes from far too much introspection.

What's powerful for me is taking time out to rewatch my favourite movies. This always reminds me of who I am, what inspired me, and what my creative voice is the product of.

All writers have to be able to nail their colours to the mast and say this is my story as I want to tell it. You have to take ownership, and it has to be born out of passion and confidence.

Worry less about being unique and more about being a solid story. Look at the movie 'Terrifier'. The premise is not unique, but it's well done and entertaining! Which is why they are on the third movie!

In terms of the self-doubt, it might help to realize that this is THE job. Writing the first draft is like 10% of the job. Everything after that is the muck nobody talks about but takes up the most time. There are movies that took more than a decade to get to the screen and had five different writers doing rewrites. In TV, one top-level showrunner once told me that for the pilot of his hit show, from first vomit draft to the script being used on day 1 on set was 36 drafts! Writers sometimes say to me, I just want to finish this script and sell it so I can be done dealing with notes. I’m like, wait, you know that once you sell it, all you get is more notes and more to write, and then more notes on that, right? You have to enjoy the process not just want the product. There’s nothing “wrong” with what you’re doing, or with you as a writer,, or the time you’re putting in. This is the job.

Without having read your script, my recommendation would be to combine 2 (or more) characters. I've found that oftentimes that supporting characters are usually there to serve the story (especially in horror) so if you can find a way to simplify that as much as you can it might help!

At a story level, your side characters are really just a soundboard for your main protagonist. They don't have to have their own journey and growth, just reinforce your heroes in various ways such as through contrast, support, and stagnation.

At a production level, it can make a huge budgetary difference having a reduced cast of regulars. Something worth looking into are "day players", these are actors who come in for just a day or two to shoot all their scenes and thus a production can bring in a big name at an affordable price.

Sometimes merging characters is a good solution to this. It can make several one-dimensional characters into a smaller number of multi-faceted ones

I've always liked "My Funny Valentine". It has been performed by more than 600 artists and has appeared on over 1300 albums. Finding an obscure scratchy instrumental version would be perfect. https://www.youtube.com/watch?v=kd65yIwO6h8

not jazz but listen to how Philip Glass uses a simple motif well to create Helen's theme in Candyman.

As someone already mentioned, the awkwardness really is not due to the music itself, but to the incongruity of the music and the picture.

I like Andre’s idea - Philip Glass might have some

Interesting motifs / dissonance to clarity / consonance sounds/ movements.

Remember studying P. Glass in one of my

Masters programs.

Hey, Anthony John Orlando. I think you'll have a better chance of finding an answer in the Composing Lounge.

Sometimes feedback hurts when you first read it, Anthony John Orlando. I suggest setting it aside, then going back to it with fresh eyes. I outline and write a feature script quickly (usually 1 and 1/2 to 2 months), but sometimes I'll go back and work on it here and there for months.

Thanks Maurice Vaughan. I actually did set my script aside for a bit to focus on another. But now, I think it's time I go back and fix it.

You're welcome, Anthony John Orlando. I meant set the feedback aside, then go back to it with fresh eyes. That way, the feedback won't hurt. Sometimes when I get feedback, it hurts or I get upset, but after I set it aside and go back to it, I see that the feedback is helpful.