The Nicholl Fellowship looms.

I’m struggling a lot with what I want to write for my Nicholl Fellowship screenplay. I don’t feel confident enough in my old stuff to work from those, but I literally am having no ideas as to what to write for something new.

The early submission date is in 32 days. (I can wait longer and do regular or late submission, but it costs more).

As of right now, my brain is bouncing three subpar ideas around in my head;

  • A gay bull rider on the rodeo circuit trapped in the closet.
  • A young woman with control issues has to go to europe to collect her dead twin’s body after he commits suicide.
  • A school shooting.

That’s it. I don’t hate any of them, but they’re not giving me the passion I once had with writing, ya know? But maybe I just don’t have that passion anymore because I’m older and wiser and jaded. And I’m feeling a little gun-shy because the response I got back from my AFF coverage, while good, said it wasn’t the most original story. So now I’m wracking my brains trying to come up with something original.

Either way, writing is still hard. To win the Nicholl Fellowship would be a huge deal, and the fact is the story idea itself needs to be original, plus the dialogue and writing needs to be perfect. Even then it’s a long shot. I don’t anticipate this is going to be my year, but I want to submit nonetheless — this is my career, this is what I’d have to do to get noticed in my field.

Back to the drawing board.

Wants and Needs and What That Means – Medium.com

© Disney Pixar’s Ratatouille

The first medium.com article I ever wrote, exploring the way that screenwriting instruction focuses on what characters want and need, but without explaining what those things actually mean in terms of writing. It’s a strange little language/code-switching barrier that warrants a deeper look, with Remy’s journey as a focal point.

One of the core elements in any text on screenwriting is to understand your protagonist’s want versus their need. On the surface, this seems reasonable. Knowing your character’s motivations — used here as a term for wants and needs as a driving force — is fundamental and relatable. How many times have you known that something you wanted was bad for you in some way and still wanted it? The internal conflict of a protagonist is when wants and needs don’t match up.

Betsy the Gremlin

Read the rest of the article here; ↘️

Wants and Needs and What That Means