Hello, everyone.  Last week we discussed the brilliant writing and artistry of Tony Gilroy on Creating A Great Read.  I want to continue that discussion now.  All of what I try and teach in this blog is material you would ordinarily not find in a screenwriting workshop, a screenwriting class or a screenwriting course.  Why?  Partly because there is not enough time and partly because instructors don’t delve deeply enough into this subject.

Let’s look at the opening of Aliens, screenplay by James Cameron.

SOMETIME IN THE FUTURE – SPACE

Silent and endless.

The stars shine like the love of God…

Cold and remote.

Against them drift a tiny chip of technology. Closer; it is the Narcissus, lifeboat of the ill-fated star freighter, Nostromo. How poetic is this narrative?  I sincerely doubt that Mr. Cameron came up with this in just one sitting.  He probably polished it again and again to get it just right.

That’s what you need to do with your narrative.

Also, notice it is horizontal writing, not vertical writing.  It’s very easy on the eyes.  You can easily read it.  Your eyes scan vertically as you read, not horizontally.  The rhythms are wonderful and immediately set the tone for the story.

Let’s look at another piece of writing.  “Romancing The Stone,” by Diane Thomas.  A gifted screenwriter who unfortunately is no longer with us.

FADE IN:

INT. MOUNTAIN CABIN – DAY

A size 16-EE boot kicks through the door, ripping the old board from the wall.

ANGELINA

in lacy camisole, doeskin skirt, whirls around next to an old stove.

GROGAN

fills the doorway, a dark hulk against the dazzling light outside.  He cocks his shotgun.

Flies BUZZ, hides hanging from the beams, something SIMMERS in the pot over the fire, TUMBLING WATERS are heard in the distance. All else is still.  It is 1875.

Once again, succinct but powerful prose that reads almost like a poem.  The narrative paints wonderful pictures for us.  It is easy to read and immediately pulls us into the scene.

Notice here how the screenwriter puts the character names in CAPS (ANGELINA & GROGAN) so it is easy on our eyes to scan the page and clearly makes us understand we are close on these characters as they’re introduced.  Again, this is vertical writing, not horizontal writing.

This is a screenwriting trick, not everyone should do it but it is a choice you can make to emphasize action or to make the reader see you’re doing Close-ups on these characters without having to say so.

These first paragraphs were not sloppily laid down but could have taken days and days to get just right.

That’s what I’m emphasizing here.  How much care you take with your narrative so the reader instantly gets excited about reading more, understanding you are not a beginning writer who just turns in a first draft.  You’re a professional and your narrative is rhythmic and fun to read.

Believe me, it will make all the difference between a Pass and a Recommend.

We’ll discuss this subject more in the future.

Until then – KEEPING WRITING!

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Hello, everyone.  As always, I try to provide material you won’t find in a screenwriting course, screenwriting class or screenwriting workshop.  I hope this suits that goal as well.

We’ve been talking about creating a great read and the tricks one learns as he or she progresses from novice screenwriter to professional screenwriter.

Let’s listen to what Tony Gilroy (writer of the Bourne movies and Michael Clayton and others) has to say about this topic:

“I’ve always been extremely proud of the drafts I’ve turned in.  I spend a lot time, maybe too much time – I can’t separate it from the process anymore – relating to scripts as something of an object, making the prose in them solid, and sound, to make them beautiful.  The question arises, “Are you sitting at the children’s table when you do that?”  You should see my draft #2, it’s really beautiful, I nailed it.”  You end up building a temple around these plans for something, instead of the temple itself.

I like when the prose is well-worked.  Not over-worked, but where extra effort and energy has gone into it, even though no one’s ever going to see it.  I become incapable of moving on from a scene, unless it’s completely switched-on, on point.  Poetically accurate.  And, who knows, that may be a positive way of hanging in on scenes longer.  It keeps you coming back – to fix a description or a stage direction that isn’t just as brutally perfect as it needs to be and while you’re there fixing something else.

I can’t do it any other way now.  Over time, you turn into who you are.  I’ve become who I am.  And I can’t even imagine writing something and getting sloppy about it.  Even if I know I’m going to direct it, I could never say to myself: “Here’s all I need to have.”

This is about as wonderful a description of what I’m talking about when I say you need to really put in the time and effort to make your description (your prose) sound great, to make it pulse with energy.

Notice how the screenwriter here talks about being “Poetically accurate.”  Yes, great narrative is more like poetry as we spoke about last week.  And he says it has to be “brutally perfect.”

That’s how I know when I read a script how professional the screenwriter is.  He or she has spent many, many hours perfecting the way his or her narrative read, it has rhythm and great images and it’s sculpted.  No word is unnecessary.

How do you get that great of a read when someone is perusing your screenplay and they’re delighted by the writing?

Time and effort and a love of language.  Finding the perfect image to convey what you’re going for.

Let’s enjoy the opening of the Bourne Identity, screenplay by Tony Gilroy.

EXT. OCEAN – NIGHT

Darkness. The sound of wind and spray.

The darkness is actually water. A searchlight arcs across heavy ocean swells. Half a dozen flashlights – weaker beams – racing along the deck of an aging fishing trawler.

Fishermen struggling with a gaff – something in the water –

A human corpse.

Poetry.  Sparse but wonderful narrative. Great rhythms.  We not only see the images, we hear the poet at work.  We establish the tone of the piece. Let’s all shoot for this kind of masterful storytelling.

Until then – KEEP WRITING!

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Hello, everyone. As you may know, I gave a lecture at the Writers Store recently about creating a great read.  These and other posts will probably not be covered in your average screenwriting course, screenwriting workshop, or screenwriting class.

I’d like to share some of those thoughts with you in the next few weeks.  This topic is dear to my heart as I see so many writers not putting in the time to write great narrative.

When you read as many scripts as I do (and that’s not even close to all the scripts a reader has to wade through or a producer or director) the thing that jumps out at you immediately is how careless most writers are in sculpting their narrative.  In this regard, we are more like novelists, but unlike novelists, we are very succinct in how we write our prose (narrative).

This talent in creating a great reading experience is usually one of the last things a screenwriter learns.  First the beginner learns about structure and then character development and then writing great dialogue.  Finally, he or she must learn about creating a great read.

It used to be in the good old days that screenwriters would just write the narrative pedantically without giving a great deal of thought to the reading experience, not pumping up the description and style and tone of the writing.  Shane Black changed all that with The Last Boy Scout and some of his other early scripts.  He gave these screenplays a true voice and the narrative was supercharged with energy.  It helped Shane to sell a bunch of screenplays for over a million dollars.

So what does narrative do?  It describes action.  It paints pictures for people.  And hopefully it should also set a tone for your screenplay.  Obviously, if you’re writing a romantic comedy, the tone of your screenplay should be quite different than a horror script.  That is also defining the style of your screenplay.

One of the biggest mistakes you can make in this regard is not only disregarding this essential ingredient but to go overboard with your narrative in the way that novelists do.  We don’t want big blocks of description.

Why do readers and development people hate this?  Because when you read a screenplay you basically speed read through the narrative and then carefully read the dialogue.  Why?  Because it’s easier to read dialogue.  It’s easier on the eyes.

So it’s easy for readers to miss important information in your narrative if you’ve got it hidden with all kinds of other data.

So you need to be lean and you need to be witty and poetic.

I’d like to leave you with this thought.  Think of your narrative vertically, not horizontally.  In other words, write it more like poetry.  Make it easy on the eyes.  Big blocks of horizontal narrative is difficult to read and makes the reader just want to just skim through it.

So write vertically when you can. Here’s an example from Shawshank Redemption.

Norton scoops a handful of rocks off the sill.  He hurls them at the wall.

NORTON:  It’s a conspiracy (Smash)

That’s what it is (Smash)

And everyone’s in on it! (Smash)

He sends the rock whizzing right at Raquel.

No smash.

It goes flying right past her.

Do you see how the writing is more vertical than it is horizontal?

Here’s another example from one of my students:

Jessica unlocks the door of the house, opens it.

An empty room.

Furniture, lamps, rugs, paintings.

All gone.  Stolen.

When I read narrative like this I see the scene clearly.  It’s easy on my eyes.  I’m looking at images as I would a poem.

Start thinking more like a poet than a novelist.  Create a tone, a style for your screenplay.  Make it easy and fun to read.  Interject energy into every line of narrative.

We’ll talk more about this in the weeks to come.

Until then – KEEP WRITING!

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Hello, everyone.  Here is more information I’m guessing you didn’t learn in a screenwriting course, screenwriting class or screenwriting workshop.

We were talking last week about exposition and how to hide information you want to give the audience without making the film come to a screeching halt.  One of the ways is to introduce backstory in the beginning of the film.  Here’s how the Ryan character is introduced and exposition is given in:  UP IN THE AIR — Screenplay by Jason Reitman — from a novel by Walter Kirn.  As we all know, Ryan is played by George Clooney.

INT. REALL SMALL CONFERENCE ROOM – DAY

Two words – Surbordinate chic.

Seated at a tiny table is RYAN. The Grim Reaper in a suit.

Across from his sits STEVE, who has just received bad news.

STEVE

(clarifying)

I’m fired?

RYAN

No. that would imply that you had

broken company policy and that of course

is not the case. The position itself simply no

longer exists.

STEVE

You’re just taking my job away?

RYAN

No one’s taking anything, Steve.

There’s nobody to blame.

The position has just gone away.

It is in the past. However, more

importantly, you are still here.

You are the future. And that is

what you must begin to focus on,

because if you cannot find fulfillment

from within, there is no future.

STEVE

Who the fuck are you?

FREEZE.

RYAN (V.O.)

Excellent question. Who the fuck am I?

Poor Steve has worked here for seven years.

FLASH IMAGES:

Steve at his cubicle.

RYAN (V.O.)

He’s never had a meeting with me before…

Steve in a meeting.

RYAN (V.O.)

…Or passed me in the hall…

Steve passes a female coworker in the hall.

RYAN (V.O.)

…Or told me a story in the break room…

Steve laughing at a coworker’s story.

RYAN (V.O.)

And that’s because I don’t work here.

I work for another company that lends me

out to pussies like Steve’s boss…

STEVE’S BOSS – A Big Pussy”.

RYAN (V.O.)

…who don’t have the balls to sack their own employees.

And in some cases, for good reason.

Because people do crazy shit when they get fired.

STEVE WIPING OFF HIS BOSS’S DESK.

STEVE SHREDDING CLASSIFIED DOCUMENTS.

STEVE POURING BLEACH INTO THE COMMUNAL COFFEE POT.

STEVE, UP ON THE ROOF, LOADING AN ASSAULT RIFLE.

BACK TO:

INT. SMALL CONFERENCE ROOM – DAY

STEVE

So, what happens now?

RYAN

We begin a process that may take months,

but by the end, will see you in a job that fulfills you.

Ryan slides Steve a PACKET.

RYAN

I want you to review this packet.

Take it seriously. The answers are

all inside.

Steve thumbs through it with skepticism.

RYAN

Anybody who ever built an empire,

or changed the world, sat where you

are now.  And it’s because they sat there

that they were able to do it.

This has a profound effect on Steve.

RYAN

I’m going to need your card key.

STEVE

Right…

Steve begins removing it from his wallet.

RYAN

Take the day. Put together your personal things.

Talk to your co-workers. Tomorrow, go out and get

some exercise. Go for a jog. Give yourself

routines and pretty soon you’ll find your legs.

Steve nods and gets up to leave. Just as he’s about to walk

out, he stops and turns back.

STEVE

Wait, how do I get in touch with you?

RYAN

Don’t worry. We’ll be in touch soon.

This is just the beginning.

Steve nods and exits the room.

RYAN (V.O.)

I’ll never see Steve again.

Brilliant, don’t you agree?  Let’s all use tricks like this to hide our exposition.

Until then – KEEP WRITING!

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Hello, everyone.  In all your screenwriting courses, screenwriting workshops and screenwriting classes, did you ever learn about how you hide exposition?  Well, that’s the subject of this post.

We’ve been communicating recently about the art of the rewrite and here is the next big stumbling block that might not have been solved during your first or second draft.

That is the problem of exposition.  Exposition is basically the backstory of your film.  In “Hugo,” this problem was never dealt with adequately.

Late in the story, we get the entire backstory of why Georges is so fascinated by the Automaton and we learn how he created his famous movie – “Rocket to the Moon.”  At this point of the movie, the forward momentum of the film comes to a crashing halt. Our main character, Hugo, is no longer active, he just observes, he’s a bystander and that should never happen.

Once you’ve grabbed your audience, you never want to let them go.  We can’t just destroy the forward momentum of the story by someone all of a sudden going:  “Okay, everyone, this is what happened five years ago.”  And then we get some long exposition about the past.

This is probably the most challenging issue screenwriters have to face.  In a novel, we can go into backstory easily and if we make it interesting enough, the reader is happy to go on this side track with us, enjoying the diversion.

Not in a film.  It stops the forward momentum of your story and all of a sudden we realize there’s nothing driving the story forward.  The eyes of your audience will glaze over and suddenly everyone wants to go get popcorn or take a bathroom break.

So how do we overcome this obstacle?

We can open the film with the backstory.  Then we’re not stopping the film by trying to get this information out.

Next way to overcome this problem is to give the backstory during conflict.  While something very dramatic is happening, we have the characters sneak in vital information.  This can happen during a fight, while sneaking up on the castle to lay siege to it, or when there’s a gun battle or car chase.  You get the idea.

The third way you can get in exposition is by sprinkling it in in small increments as the story progresses.  But not all at once.  You find appropriate scenes to tell us a little at a time.

Talented and professional screenwriters know these tricks so well you don’t even realize you’re getting exposition – it’s done so cleverly.

The next time you watch a really good movie or study a screenplay pay attention to when exposition is being given.  You might be surprised how subtle this can be and how you didn’t even realize on a conscious level you were learning stuff that is essential to the story.

Let’s work on being masters of exposition when we do our subsequent rewrites.

Until then – KEEP WRITING!

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Hello, everyone.  Are you taking a screenwriting course?  screenwriting workshop?  screenwriting class?  I’m trying to provide information in these posts that you can’t get at those venues.

Okay, so, we’re talking about rewrites and what you should look for when you’re about to embark on your second or third rewrite.  We’ll talk about your fourth and fifth rewrite in the weeks to come.

Looking for deep emotional moments and how to expand and deepen these moments as much as possible is what your primary concern should be.

Let’s look at one of the greatest screenplays ever written:  Midnight Cowboy by Waldo Salt.  What really drives this story?  It’s the relationship between Ratso Rizzo and the dumb cowboy, Joe Buck, played by Jon Voigt, who comes to the city and ends up being swindled.  The very person who swindles him, Ratso, is the one he’ll be most bonded to.

If you’re the screenwriter of this film, you would look for every opportunity to develop and heighten this relationship.  It’s really a love affair (if you want to look at it like this) between two men.  It starts with betrayal and ends with a deep friendship.  That entails a dramatic character arc on the part of our protagonist.  Joe Buck goes from anger and betrayal to a deep personal connection with Ratso.

The writer on his subsequent rewrites would then look for any opportunities to deepen this friendship.  As always in any relationship, it doesn’t progress necessarily in a linear fashion.  The characters take two steps forward and one step back.  Just when they’re getting close, the screenwriter, if he or she is smart, does something to pull them apart again.  Then they struggle even more to fulfill their friendship.

By the end of the story, to show Joe Buck’s ultimate love of Ratso, he leaves everything behind to take him to Florida, which is Ratso’s dream.  But Ratso is so sick by this point that it’s too late, he dies on the bus going south from New York City.

It’s a tragedy of sorts but also a story of redemption.

Could Midnight Cowboy be made today by a major studio?  Sadly, no.  There are too many Avengers and sequels.  Don’t we long for the day that movies like this could be made by major studios?  Now, you would need to make this as an independent, and then you’d have a fighting chance.

Find every opportunity possible to deepen the relationships between characters, allowing the deep, vulnerable feelings to come to the surface.  The reason your plot is there is to service the character.  To force them to face the things they normally would never face.

Next week we’ll talk about exposition, the next area we need to refine and work on when we do our rewrites.

Until then – KEEP WRITING!

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Hello, everyone.  Should you take a screenwriting course, screenwriting workshop or screenwriting class to help you become a better writer?  Well, you can follow these posts and you’ll learn a great deal.

So now that we’re deeply into what we want from coverage and notes and how we attack our rewrite, what is the one area that is most vital to explore when doing your rewrite?

From looking at many, many scripts over the years – the one area I see that is most overlooked are the opportunities for strong emotional moments between your characters.

Strangely enough, many writers seem to shy away from strong emotional conflict and scenes.  Maybe there’s a tendency in all of us to avoid emotionally upsetting incidents and experiences in real life so we avoid them as well in our writing.

So in a script when an opportunity presents itself for characters to confront one another or bare their feelings – especially beginning writers tend to back away from these opportunities.

This is exactly the opposite of what you should be doing.  You should look for every possible interaction where strong emotions can be elicited by your characters. Or find places where your characters do have emotionally rich moments and make them even deeper.

And that is what’s so challenging for writers – that we want to have these great emotional moments and yet we don’t want to be on-the-nose about it.  Characters need to express the really deep stuff that’s going on inside without spilling their guts, saying exactly what they’re feeling.

The reason on-the-nose dialogue is avoided is because the reader or audience member doesn’t get to participate in the scene – you’re telling them exactly what the character is feeling, rather then letting your reader figure out what’s happening.  We all express our feelings during the day, but we’re not usually all that direct about it, we hide what we’re feeling because we don’t want to be too vulnerable.

There is one exception to this:  At the end of the movie when you have the big obligatory scene where the character can finally express the very thing they’ve been unable to express the entire movie:  Like in Golden Pond where Jane Fonda tells her real father (and movie father) Henry Fonda how badly she needs him to tell her he loves her, that he cares about her – then in these particular moments the character can certainly be on-the-nose.

It’s usually this one very important scene in the movie and then that rule about not being on-the-nose is thrown out the window.  These on-the-nose moments happen in real life and they happen in movies as well and the audiences won’t blame you for being very direct and simple in these climactic scenes.

So when you’re doing your rewrite, ask yourself how you can explore deeper emotional moments between your characters.  Are there opportunities you’ve already set up you’re not paying off as deeply or emotionally as you could?  Where is the true heart of your film?  Where will the audience feel the most about your characters?  Can you enrich those moments?

Creating deep emotional moments between your characters is what great art is all about.  Having enough skill to accomplish this is what makes a great artist.

We’ll talk more about what you should be looking for when you do your rewrite.

Until then – KEEP WRITING!

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Hello, everyone.  Now that I’ve shared some of my ideas with you on the subject of getting great notes:  when you know you have them or when you don’t, let’s talk about how you tackle your rewrite.

We are engaging in something that is usually not covered in screenwriting courses, screenwriting classes or even professional screenwriting workshops.  I’ve written on this subject previously but I’d like to go into it with more depth now.

You had the wisdom to reach out to someone who really understands screenplays.  They weren’t just giving you feedback regarding your typos or weak dialogue, they actually understood exactly what you were going for and now they’ve given you notes on how to take your work to a whole new level.

Do you immediately rush in and do the notes?  I don’t think so.  First you should mull over exactly what that professional was commenting on.  You see how much deeper you can take your characters, how you missed opportunities to enrich the theme even more and you now see how there are structural problems that need addressing.

Okay, take a deep breath and start to write a new outline.  Don’t just rush in where fools tend to go.  No, you want to really think about this for awhile and lay out your game plan in terms of how you’re going to fix the problems you’re having.

So you re-outline the story.  You will see now that the new draft you’re going to do will be a whole new screenplay.  It will have the same characters and the same basic storyline but it will be a new creation.  That’s good.  That’s very good, because a screenplay should evolve.

It’s been written that there are 3 films: there’s the film written by the screenwriter(s), there’s the film that’s shot by the director and there’s the film that ends up on the screen after the editing process.

Well, we can say the same thing about your creation.  There’s the film you’ve written on your first draft, and there’s subsequent films after you’ve done each rewrite.  They’re all different.  Some are substantially different and some are only different in small but key ways.

Allow your screenplay to change.  I get writers at times who cling on ferociously to what they’ve already done and are reluctant to hear ideas on how their screenplay can improve.  That tells me the writer is insecure, insecure about his or her talent.

Because if you have confidence in yourself, you want to hear ideas on how to make your screenplay better, you don’t have to cling to what you’ve already done.  It can always be better – it can get better with each draft and it will get better when you attach your screenplay to a great producer or director and they give you more notes to improve your screenplay.

Don’t fight change!  Embrace it.  And that doesn’t mean if you get a note that doesn’t really work, you also must have the confidence to reject it.  You will know instinctively what notes are good and which ones aren’t.  Go with your gut on this.

Then when you’ve re-outlined the screenplay and see clearly the new film you’re about to create, then you start the rewrite.  And more things will change.  And that’s good, too.

We’ll talk more about rewrites in the weeks to come.

Until then – KEEP WRITING!

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Hello, everyone.  So we’re talking about marketing and what to do before you actually send your script out there to be sold.  These observations are not something you will find in most screenwriting courses, screenwriting classes or screenwriting workshops.  That’s why I post them here, to give you something you can’t get anywhere else.

As I explained in my last post, the most common mistake writers make is that they send out their scripts too early.  They don’t get the proper feedback.

And what is the proper feedback – getting someone who is a real professional, hopefully someone who’s had films made and knows what it takes to get a script to the point where it’s ready to go out.

I’m not a big fan of most readers but I’m also very big on getting great notes so you can do the rewrites required to make your screenplay as good as it can possibly be.

So let’s start with this.  How do you know the feedback you’re getting is really excellent and will make your script considerably better?  Or is it just one person’s opinion – are these notes going to make your script different but not necessarily better?

This is how I know I’m getting great notes.  When I calmly listen to the notes and/or read them my eyes light up and I can instantly see the value of what’s being communicated.

In other words, I can’t wait to do the rewrite; because I know it’s going to make the work deeper and richer.  I can immediately sense that this reader or professional really does get what I’m going for and is going to make my movie that much better, not make his movie better.

What do I mean by that?  Some readers or industry professionals don’t really get your film and want you to write their film instead.

I remember John Sayles (Lone Star, Matewan, Eight Men Out) making this point in an interview.  He didn’t want to do another rewrite because the studio notes weren’t truly addressed to what he was doing. Those kind of notes make a script different, but they’re not going to really make it appreciably more emotional or have more depth and thus more marketable.

Those aren’t good notes.  We want someone who really gets screenplays and what makes them work.  They aren’t so concerned with each little minor thing they come across, like weak dialogue here or there, but they’re going for the jugular.  What is this film really about?  What is the real gold they writer is digging here?  How can we make the heart of this film more powerful?  The characters more complex?  The emotional moments more poignant?

Let’s think about this in the coming weeks.  Ask me if you’re interested in getting a private consultation for your screenplay.

Until then – KEEP WRITING!

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Hello, everyone.  As always, I try to give you information that you won’t get in most of your screenwriting courses, screenwriting classes or screenwriting workshops.

Recently, I’ve gotten on a tangent about marketing, rather than the techniques to improve your screenwriting skills.  I want to stay on this path a little bit longer.

Despite what I posted about the ineffectiveness of most readers, the biggest mistake I see all screenwriters make when they first attempt to market their scripts – the beginners more so than the pros – they send out their material before it’s ready.

It’s easy to see why this occurs.  We’re all jazzed when we finish our scripts.  I just completed my first novel with my writing partner and I’m very excited about.  This is the way it should be.

But that doesn’t mean I’m ready to present it to the world yet.  This passion and enthusiasm should be tempered by good sense.  First I need to see what I’ve missed.  Although we’ve been workshopping this project for months now, getting feedback from other writers – I now want to get professional feedback from someone who knows nothing about the project.

In my last post about my skepticism about most readers, if I don’t use readers then how do I get this feedback?  Well, actually there are one or two professionals I do like when it comes to coverage.  So I don’t say all readers are terrible.  I’m just very careful about who I want to give me feedback.

When I was first starting out as a writer, I’d get my girlfriend(s) at the time to read what I was writing.  And of course she would just respond: “It’s wonderful, honey.”  So that didn’t help much.  Then I found other writers who I respected to give me a read or producers who I had met or their development people.

What isn’t communicating?  Are there any characters that aren’t grabbing the reader’s attention?  Any characters I can dispense with altogether?  Any plot problems?  Any areas that are slowing the story down?  Awkward narrative?  On-the-nose dialogue?  Missed opportunities to make the reader care more about emotional moments?

At this point you have to be tough with yourself.  You have to get some distance on your material so you can be as objective as possible.  And you want to find those gifted and experienced individuals who are trained to give professional feedback.  Not just someone you pulled out of a hat or advertised themselves on the internet.

If you get really good feedback and make your screenplay or novel 25% better, do you think you’ll have a better chance of selling it?  Of course you will.  That 25% may be the crucial difference between a pass and a recommend.  And if the producer sees the professionalism of your writing, he or she will be much more willing to work with you to make the project even better.

We’ll talk more about this subject in the weeks to come.

Until then – KEEP WRITING!

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