I woke up with a headache -- tension initiated -- that's taking its time leaving me, so the writing will be minimal, today. Instead, I'm focused on working up an action and character bible for "Marked For Death." I found while writing my 2 volume (so far) book, "Bobby Carapisi," that it helped immensely in keeping track of the complex directions my writing takes me.
And there's no question my stories can get convoluted. I have one script -- "Kazn" -- that drives coverage people insane, because it tells its story in both past and present, with each informing the other, and uses visuals as much as dialog to highlight information. I was sent the coverage on it a couple of times (from people who were trying to help me "learn how to write") that showed that one had gotten half the story completely wrong in her synopsis while the other suggested I do things that were already in the script. Hysterical.
But I've seen that consistently in coverage -- that it's done poorly or ignorantly, and I'm not talking about just mine. I especially love it when the coverage person obviously has no command of English grammar and consistently confuses "your" and "you're" and "its" and "it's" and such while writing in sentences that go nowhere. Yet these are the people determining whether or not your script goes up the line to production or straight into the trash. Too bad they don't have to prove themselves competent in story analysis or even reading comprehension.
However, I think my favorite comment came from a woman who gave me feedback on a gentle teen-romance I wrote ("5 Dates") and said I really shouldn't have my lead male's mother pimping him out to the lead female so she could meet the girl's father! It was so out of left field, I actually went back to the script and reread it to see if I could figure out what the hell she was referring to -- and I'm still at a loss...though I did find a couple more typos, even after proofing the script a good four times. Dammit.
But that's me and typos -- and that is a whole 'nother story.