How’s your novel going

I hear you ask.

Truth is, I put my novel on hold since mid-Aug.

I couldn’t work through the pain.

I couldn’t squeeze more willpower out of my fried brain.

I kid myself that my plate was full with the podcasting.

Half month later now, I know I need to begin again.

But of course, I find it hard to reboot.

The greatest resistance is always the beginning. From 0 to 1.

I signed up for this FREE online course called Start Writing Fiction a while ago.

The course started yesterday.

I think it would be quite beneficial for me to go through the motion, get the rough draft done first.

It may help you, too.

 

Yours truly,
YZ

PS. Listen to the latest RBYZ podcast if you haven’t already. The guest is truly one of a kind! Episode show notes here.

PPS. I’ll start posting the word count I’ve completed per day here till I finish.

To be or not to be

A voice whispered in my head: quit screenwriting.

I woke with a jolt and throbbing pain in my chest.

But this is what I set out to do when I gave up everything in Shanghai and came to the US in 2015 to pursue this dream. I argued with the voice.

The voice kept reasoning with me—
Here is thing: You’re just not good at this. You haven’t sold anything. Nobody asked you to pitch anything. You haven’t won anything big. The market is permeated with big IP sequels that only care about the box office. Do you know how expensive it is to make any movie? Any feature, the budget starts at $1m. And just what makes you think your story should be told onscreen?  Hon, shall I keep going?

I fumbled, well, I want to bridge the East and the West— exactly what I wrote in my “Statement of Purpose” when I applied to the UCLA Film School.  And it worked.

But come to think of it now, it’s not working for me anymore. The two scripts about the Chinese culture I wrote at UCLA aren’t really the ones that come from the heart. At the time, I was running short on ideas and thought they were cool subjects worthy to be known.

They can be known through books. Documentary at best, not necessarily feature film. The voice shot back relentlessly.

Quite true.

As I write this, I am writing a thriller feature. It’s an adaptation. It’s a period piece. Two weeks ago, I decided to make it contemporary. Why? It’s cheaper and more relevant. Two days ago, my screenwriting friend (who is one kick-ass screenwriter, sold tons of projects and has one movie made) agreed to collaborate with me, because she knows about my quagmire and the collaboration will get me further and faster into the game. Plus, she loves the project. I’m thrilled. I really like the story. I want to like it more. But I’m too much inexperienced to tackle something as classic as this book, like a baby alligator trying to tackle a grown hippo on Training Day #101.

I am also working on my first novel. I clock in 2,000+ words or more every day since July 10.  I am less than 27 days away to finish my rough first draft. I want to get it published, or self-published by February 2019. Why the rush? Because again, I need it to apply for my artist visa (O-1) next year. At the same time, it’s the story I’m burning and dying and all the while afraid and shying away to write.

See the difference? I can’t wait to get behind my desk to work on my book. But I’m procrastinating with my screenplays.

Here is thing: I have total ownership with the book. But screenplays? They are just blueprints for movies. Feature screenwriters get hired and fired all the time. What’s my worth to keep being a screenwriter? Shall I start generating more TV ideas?

I will ask these questions to my friend and now writing partner the next time I send her notes on our collaboration project. The most pressing one: To be, or not to be. How to sustain your dream when you’re trying to livin’ the dream?

 

Yours truly,
YZ