Black Serenade

This post came about because I have a screenplay that’s been begging me to work on it, but I let it down, failed it miserably because this was one of the stories that got hacked to death by bad workshopping. Let’s get one thing clear. I wasn’t being a precious princess who was afraid of killing her darlings. I love killing my darlings because at the end of the journey a better story unfolds. Every week I was told by the same group of people, day in and week out, (because we all took the same classes) that I shouldn’t bother with horror, it’s not something we should read or watch, why does there have to be blood, there’s something wrong with people who like or write horror.

Hello. Is anybody home?

My tag line is: Love; devour it before it devours you. There’s some degree of expectation of seeing blood in a horror romance and not a romance horror. Not forgetting that they would scribble out entire scenes without a word as to why. Some of the advice was good, but too much of it was bad, including the personal jabs. I put away my screenplay Black Serenade for all the wrong reasons. Unintentionally I let these bad workshoppers get to me, make myself doubt who I was as a writer and scariest of all, I let them.

That’s what bad workshopping does. It erodes your confidence bit by bit until you become afraid of something that you’ve created. I even have a novel that has been sitting dormant on my bookshelf for four years waiting to be reworked. (Guess what?)

Sure I kept writing. I even managed to finish my novel, Never Bargain With God and have sent out query letters to agents. I have other projects waiting. So why did I feel inclined to ignore Black Serenade? Because, it brought back the fear associated with losing confidence. It made me feel inadequate, frustrated and not worth the ink needed to have it printed out. I can’t believe how hard this is for me to write. Just because some unprofessional workshoppers dug their claws in, I was ready to sacrifice what I had worked so hard on.

While doing these posts on workshopping, I had a revelation. I not like that now. I have professional workshoppers who scare me for a whole different reason. They slash their way through my work and it’s all constructive criticism. I love it. I’m not dwelling in the past anymore. Bad workshopping is a thing of the past.

After rereading my screenplay, I decided to rewrite it as I wanted it to be from the beginning. It only took four days. I was happy. I was an ogre if I wasn’t writing it. So, Black Serenade has made it as my first post in Screenplay Scrapbook.

It’s currently out of my hands and into the dependable and reliable story deconstructionists I know. I’ll keep you posted on how it goes.

The reinvigorated,

E. J. McLaughlin


Engaging The Rules Of Workshopping

Rule Number 1:

This post isn’t about sticking your finger up your nose and picking a winner. Although gross, it is however, much easier to do and probably less traumatic than workshopping your manuscript.

You see, like most writers attending classes or workshops, we nervously accept the fact that we have to eventually show our work to others. Through the shuffling of paper, our voice squeaks, and suddenly we’re apologizing before we’ve even read a single word, making excuses as to why the story might suck. We do this to rationalise the attack that we think will ultimately destroy our resolve and confidence. What we are really doing is being defensive. It’s not hard to be when you have other writers or fellow students attacking you. And that’s exactly how it feels.

We apologise to defuse the attack, but by doing so, we are making ourselves as wide open and as uncomfortable as a woolly mammoth stuck on a tropical island with one coconut tree. We inevitably give the people working our stories ammunition. Most go on the attack because they haven’t learnt good workshopping skills yet, but there are those out there who go on the attack to make themselves feel better.

Until you find yourself in a professional workshop environment, you won’t ever feel comfortable. You will always leave yourself vulnerable to the bombardment of criticism. Harsh criticism and personal remarks do the most harm and I am sad to say that the good and constructive criticism gets lost in all the negativity.

Rule number 1: Don’t make any apologies unless you’ve accidentally clogged the toilet with biohazard waste material that chokes the air with leftover tuna casserole.

This rule came about because of a telephone call with a fellow workshopper. ‘Do you remember how we used to always make excuses before workshopping?’ The horror! The horror! But something was said that gave me a ding moment that was so exceptionally loud, I though the microwave just had a conniption fit. “What are you worried about? You don’t do that anymore. You tell us what you want. You own what you think is wrong with the story and the writing and get us to look at it.”

Upon reflection, she was right. (I hope she doesn’t read this post.)

I own it. It is my story. Instead of worrying about what others might think about the genre I write in, or whether it was a reflection on my person, I trained myself to focus on more important things. So how did I get from being defensive and apologetic to taking control and being confident? (Yet I still get butterflies when I workshop a story. I own those too. It’s who I am.)

Clause 1a: Repeat after me. I am not what I write. There is one exception—autobiography—but we’re discussing fiction. Repeat it again: I AM NOT what I write.

NOTE: I am not a demon who loses herself in a moment of torturous pleasure when fishing for a kidney.

Clause 1b: I will not apologise for writing horror, fantasy, comedy, romance, science fiction, thriller, detective, urban fantasy … If any unprofessional workshopper tells you they don’t do … tell them you’re workshopping your story, not the genre.

There are some other words you could say to them, but it would be rude and disrespectful and we are professionals, are we not?

Clause 1c: I will not say: I think the pace might need looking at, I think I have a problem with my character, there may be too many ideas in one sentence and I definitely will not say I need you to find all the mistakes. The Horror! The Humiliation! The Inevitable Attack!

Instead, I will say: Please look at the pace; my character feels like he needs more development; I know there are too many ideas in some sentences, could you help me find them; and I will always ask, what’s good about the piece.

Don’t always assume that workshoppers will tell you what’s working because sometimes we tend to focus on the questions and tasks in front of us; we naturally assume you already know what you’re good at. (I will discuss this in a future rule.)

Clause 1d: Through your writing journey, do not apologise for anything you write because deep down you’re apologising for existing and that isn’t what a writer or “normal” person should be doing. (Is there a concept of normal when so many of us are different?)

A writer, a confident writer will embrace what they write, create new life and help take their readers on a journey. For me, that is a very good reason for living. (I better include that my family is also a very-very-VERY good reason for living.)

By not apologizing for all the mistakes and inconsistencies, by owning them, you will find the most important feature a writer needs to have—Confidence—in yourself and in your story.

Until the next rule,

E. J. McLaughlin