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As mentioned in my last column, I spent several weeks this summer teaching playwriting to teenagers. Most were extremely ambitious in choice of subject matter. Each displayed specific strengths and weaknesses working with plot, character, dialogue-the craft. As their mentor, however, what eluded me was getting them to push farther in second and third drafts.
One workshop rule was that each writer possessed ownership of his or her play. Suggestions and critiques from me and their peers were just that: suggestions. They could take them or leave them. Or, better still, use them as a springboard to rethink their work. In spite of this, the majority made only minor changes to their scripts.
I find this a particular weakness of many youthful writers. It's such an accomplishment to get it all out and down on paper that the job seems done. Or perhaps the impulse that led to their inspiration is so deeply embedded they cannot imagine new options.
Some of it may be attributed to how writing is treated in school. Student does research, writes paper, hands it in, then gets a grade and a few comments. End of story. In this environment revision (literally "to see again") becomes a flabby writing muscle.
So if you're new to screenwriting, one of your biggest hurdles may be accepting the need to revisit, rethink and revise your work-often many times. It's one of the big things separating professionals from amateurs.
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