We all know that you can’t create original, interesting stuff with you inner critic whispering in your ear. I’ve been in brainstorming sessions where people were judging ideas before the ink was dry on the flipchart paper, stifling creativity and giving nothing the chance to grow or develop. Creativity comes from a freedom to fail, or at least to suggest something which might be bonkers but which might spark an idea that is perfect.
The freedom to think and generate ideas without judgement is crucial to creativity. So learning to banish your inner critic is a vital part of the creative process. But that inner critic, that voice that says ‘that’s rubbish!’ can also be your best friend if you learn to harness it.
Creating stories is not a linear process. Some screenwriting books might make it sound like you are supposed to come up with things in a sequential order; decide what you want to say (theme), create a character with a flaw that needs to be overcome (internal journey) and a want that will drive the story forward (quest/goal), craft a plot that will create obstacles to achieving that goal.
But no writer I’ve ever worked with actually creates like that. Stories develop more organically than that. There’s a moment that you observed on the bus when some guy was arguing with his mate. There’s that film you watched last week that got you thinking about how differently people grieve and what loss is. There’s that person at work whose sunny disposition got you wondering if he’s compensating for some terrible trauma at home. There’s that newspaper article that got you thinking ‘what if we really could go on holiday to the moon?’
It’s a jumble of thoughts and images and people and moments and ideas. To begin with, it doesn’t make any sense. Now is not the time to worry that it makes no sense. Now is the time to run with those moments and ideas and see where they take you. Banish your inner critic.
But eventually, those ideas and characters and story moments begin to take shape. You find connections. Characters are starting to change because of the situations you’re putting them in. You’re beginning to discover which character or story has the most resonance for you. For some writers this is when you’re outlining your story. For others the urge to get the scenes down on paper is overwhelming and you’re already bashing out a first draft of the script.
Either way, this is the time to invite your inner critic back into the room and ask for their help. This is when they come into their own. We’ve all watched films and tv shows that we’ve secretly (or maybe even publicly) slagged off. Critiquing material already out there is part of the learning process. We can not only say ‘that didn’t move me’ but we can see the mechanics underneath that caused that failure; I didn’t care about the character, the story world logic wasn’t consistent, the dialogue didn’t ring true.
That instinct and skill you’ve developed for recognising the flaws in other people’s work, you now need to bring to our own. Our inner critic has a tendency to just tell you ‘it’s crap’ but if you question them, you can find out why. What exactly about this isn’t working or needs to be better?
That nagging doubt in your head that the subplot isn’t really connected to the main story, that sequence you had fun writing isn’t actually moving the story on, that character you know you don’t really know – you’re probably right. If you secretly know it’s a problem, chances are, it is and a producer, script reader or script editor, with their strong story instincts, tonnes of experience and finely tuned script analysis skills, definitely won’t miss it. So, now’s the time to listen to that inner critic, the one telling you ‘you can do better’, hone in on those weaknesses and address them.
Those tangents, those bits left over from when the idea was focused in a slightly different area, you know they need to go. You do have to kill your darlings, to cut the moments and characters you’ve so lovingly created, because you know that this script will be better, stronger, more powerful without them. But they’re not gone forever, they’ve just waiting in that bottom drawer of ideas saved for another day, for another story set in another time and place.