A Writing Career While Holding a Job

The biggest obstacle to getting writing done is having to do so on the side.  If any of the books could break out enough for me to be able to survive off it, the rest would be much less of a problem as I would write during the day.  However, when a person has to go to work, place all their mental and physical energy toward that, and then, only after they've gotten home from a full day on the job, can they START working on the day's writing... That's the number one reason most writing doesn't get done.  That and procrastination, but that's another blog entry.

So how does one get past this?  I've been lucky enough to have a job at home, so at least I don't need to deal with a commute.  But by the time I can begin, my eyes are tired of staring at a computer screen, and I just need a nap.  In addition, my girlfriend's getting home and I can't tell her not to make noise, plus I want to spend some time with her.  So how to answer this dilemma?

My own case is unique as I work on a deadline transcribing video files.  While I'm at work, I can only be concentrating on that.  But I get to choose when to work.  So I'll generally do my mindless transcribing late at night so I can write while Jamie's at work.  When she gets home, she wants to take a nap, so that gives me a time limit of about 30 minutes from the time she comes in the door.  I'll often then get about another hour when she's doing something else, as is happening right now.

But in the days when I had a normal 9 to 5, I had to slip it in a little more cleverly.  Mostly, I made sure to have my laptop with me so that I could take advantage of any moment I had.  Is it slow at work?  Get a little writing in.  Lunch break?  Get some writing in.  Fifteen minute breaks are for figuring out what I'm going to write.  And then in the evenings I had a specific amount of time set aside to get my writing done that was understood by all around me.

Commutes were time to think through a story and figure out what's going to happen so by the time I began writing, it was simply a matter of putting down on paper what I had already thought out.  I once came up with a whole book on the way to Vegas.

Of course there are the weekends, too.  But regardless of when you have time to write, the most important thing to do is determine a block of time ahead of when you'll write; a time when you're not allowed to procrastinate or do anything else.  That's writing time, and it's precious.

Update on Tales & Lives of the Vietnam War

The nonfiction story I've been working on for the past few years has been Tales & Lives of the Vietnam War.  By "working on" I mean gathering stories as I tell people I'm working on it when in fact I keep putting it off.  I finally decided on Veteran's Day last year that I couldn't put this off anymore.  So I started actually pecking away at it.

To be honest, it's very difficult to get through.  The subject matter is obviously depressing, but it's also been depressing for me ever since Two Gun didn't do very well.  If that was a subject that didn't catch people's attention, I don't see why this one should.  From everything I've seen, people want to bury this part of history and never hear about it again.

But hearing these stories, I can't help but realize how important it is for people to hear them.  So I push on.

So far I've finished Lance Block's story and Wally Turner's.  This was the story of an infantryman and a priest.  I've started on the next ones and am expecting to speed up a bit.  I want to have it done by Memorial Day

The Process of Translating my Own Book into a Screenplay

I have held for years that my nonfiction book The Great Heist would make a great movie.  I originally tried to do so when I first learned of the story, but unfortunately I couldn't get it made.  Thus the reason it became a book.

I became re-inspired to try when someone came to me and optioned it for a year for the purpose of making a movie or limited series.  When he couldn't get it made, I decided to give it another try.  So I wrote my own version of a limited series pilot along with a series Bible.  There were some interesting things to note about the translation from written work to screenplay.

First, I had to let go of the inner historian; at least a large part of him.  It's not that I was willing to give up all historical accuracy, but I had to put the emotion of the story first.  In fact,t hat leads to the second, and most important task in translating a book to a screenplay.

The emotion of what happened and why it's relevant to the audience has to come first.  It's important to note that this does not run counter to historical accuracy.  In fact, it should run in tandem with it.  A common misconception is that entertainment value and historical accuracy are at odds with one another.  Some will say you need to drop historical accuracy for entertainment, others say you have to sacrifice entertainment in favor of accuracy, while others will say you need to balance the two.

All three of those are the wrong point of view to take.  If a filmmaker likes a true story well enough that they want to make it into a film, there must be something that drew them to the story in the first place.  Why make a movie about something for which there is no attraction?  What needs to happen is to translate it from written word to screen in the same way one translates from one language to another.  The words don't translate exactly, so you have to take the meaning of the sentence in one language and reword it in a sentence of the other language.  In no way would a good translator throw out the meaning of the original sentence.

With that in mind, one needs to look at the structure of a historical book, and the structure of a screenplay.  A historical book tells about the background of the characters involved, what brought them to the present, and dwells on individual moments to give details about each one.  A book can also jump around in time to give information about a person or a place.  A film is much more linear, and the story needs to keep moving with no time to stop and dwell on anything.  Yet we still want to know more about the characters so we care about them.  So it's important to find ways to slip in information about them as it's going along through organic actions we see on screen.

As an example of how I did this in The Great Heist, when I introduced Max Towle I combined several times he was in a courtroom performing his wild antics.  These incidents had taken place over many years, some of which happened after the incidents in the story.  But we're not going to jump through all those time periods and the audience needs to know in a couple minutes what this guy is all about.  So, those elements get combined.

As I wrote the script, I kept the book open, writing what was happening, but then translating it to the language of film; combining events or altering them to give the emotional impression of what happened rather than trying to portray the exact thing.

I recently saw this in a movie called The Death of Stalin.  The events of the story are very accurate, but many of the specifics are exaggerated to emphasize the absurdity of what occurred.  A story about decades of tragedy is thus transformed into an absurdist comedy while the historical accuracy of it all is kept intact.