I was twenty-four and in the middle of writing my first screenplay with my brother. We were writing it as quickly as we could so that when we arrived in Los Angeles, we’d have something to show to the agents and producers we were hoping to somehow manage to meet. I wanted to write it in the same way I’d written the sketch comedy show he and I had been performing for the last few years, which was to tap into the funny, tap into the cool, tap into the interesting I felt within me and let the funny, cool, and interesting find its way onto the page.
But I couldn’t write this screenplay like that. It had to be able to impress agents and producers who, as I understood it, thought in terms millions of viewers and tens of millions of dollars, whereas my sketch comedy show on a good night performed to around 80 people and earned us slightly more than nothing. I had to write for The Big Time, and I wasn’t sure what that meant. I was not sure if my funny, cool and interesting was funny, cool, and interesting enough. So I smoked a lot of cigarettes plus a few other things, and didn’t sleep much, and caught a cold, and began to hear a great clock in the sky ticking its way down to the end of my creatively viable youth.
Then one evening my brother was at work and I wasn’t, and instead of writing more of the screenplay, I decided to describe what it felt like to catch a pass from my father. In one longish paragraph I wrote about the pleasure of running flat out down an open field, tracing the path of the ball in the sky and timing my run and my extended arms so that the ball and I would meet. I wrote about how I couldn’t do this often enough, and that even though I was technically practicing for our Sunday touch football games, was technically getting better so our team could win, the pleasure was all in the running and finding how my father and I were connected through that ball.
I spent an hour writing that paragraph, and when I’d finished, I sat back in my chair and felt something I hadn’t in quite some time. I didn’t want to leave the chair, in fact, because as soon as I did, I knew I’d be caught up once again in the momentum of my day, of which that screenplay was now a part. I wished for a moment that that this was the momentum of my day – the quiet, profitless knowing after writing something just to write it, of catching a ball just to catch it, of living a life just to live it.
Write Within Yourself: An Author’s Companion.
“A book to keep nearby whenever your writer’s spirit needs feeding.” Deb Caletti.