Kaitlin McLaughlin is an award-winning writer and producer living in Los Angeles. Her screenplay, THE MURPHYS, was the winner of the Nantucket Film Festival’s 2011 Showtime Tony Cox Award and was selected for Film Independent's Screenwriters Lab. How did you come to be at the Colony?
KAITLIN: The Nantucket Film Festival sent me!
Can you tell us about your writing process?
K: I think of writing more than an affliction than an aptitude.
One of my greatest flaws as a writer is how slow I am. It takes me a minimum of 3 months to get to a first draft. In general, I write a detailed outline. Then, I write a first draft and get extensive notes from 5-10 people. Then, I make a summary of the notes and write a short outline of the changes I want to make and then I write a 2nd draft. I receive notes again (from the same readers plus a slew of new ones) Then, hopefully all I have to do is a polish. In general, I underwrite the first draft and overwrite the second draft. Then I make it just right.
Did your process change any at the Colony?
K: I learned some great things at the Colony. It’s always interesting to hear about other people’s process but to have the opportunity to see other people’s process was very helpful. I’m trying to be less precious about outlining and get to the actual screenwriting faster. I’ve been shamed and scared into writer faster by my other colonists. They seem to work so much faster than me so I’m trying to be less precious about my outlines. Also, I am going to people for notes sooner. Getting notes from 1-2 people on an outline can really help to iron out structural issues and let the writing be more focused on the stories and characters… and writing good dialogue.
What were you working on?
K: I came into the colony with two different pieces. One is a very low-budget ensemble indie drama in the early stages…. The other is a family comedy I spent five years writing.
I spent most of my time working on Mirrors. My mentor really pushed me to develop my characters. I spent most of my time really creating interesting and fully developed arcs. I had to put all my characters under a microscope and really decide who they were and why they make certain decisions. It was exciting to be in the early stages of writing something because there are so many paths to choose.
With The Murphys, I was really refining the arc of the main character so the audience can relate to her and go with her on her emotional journey. What is Pauline’s want vs Pauline’s need? Let the audience in on both. We worked on ways to make her a little less passive. “Don’t help her avoid doing things”. I need to distinguish more between her behaviors and her emotions. The audience doesn’t need to know everything but I had to find a few places where I could chart the main character emotionally throughout the script. At certain times, the audience needs to both see her behavior and understand why she is doing the things she’s doing.
How was it living and working with the other Colonists?
K: As I type this I am sitting across from one of my former roommates.
I love all of the writers I lived with. I learned different things from each one of them and I look forward to being in their life and supporting their careers. Here is one anecdote…. A few days before an upcoming deadline, one of the colonists mentioned that he had won a grant at Tribeca and that we should consider applying. It seemed like a lot of work and there wasn’t much time to gather the materials. We weren’t very motivated to do it. But, this colonist insisted. He gave us a pep talk and sent us the materials he had used the previous year and the three of us sat at the long beautiful table in the old farmhouse until the application was finished. This is what the colony is all about. Writers coming together to inspire one another, work together, and take risks. I will always remember that day we all sat at the table. The only thing worse than writing is writing and application about something you are writing. The thing I remember most about that day was how we all sat down and slogged through it together. I’m grateful for the push to try something I didn’t want to try.
Did you enjoy living in Nantucket for a month?
K: I have never seen so many sunsets, gone on so many bike rides, or eaten so much ice cream in my life! More importantly, I have never enjoyed writing as much as I did on Nantucket. I will forever cherish the month I spent with a group of talented, interesting, and lovely folks on the little island paradise.
I believe everyone who attends the colony, advisors, colonists, directors, the significant others of the aforementioned… every last one of you should have to go swimming in the ocean. It should be required. You gotta jump in the Atlantic you big babies.
How were your Mentors at the Colony?
K: I had amazing advisors. I considered proposing marriage to at least 2 of them. I’ll let you know how it goes.
Every advisor was different. Sometimes we had very broad conversations about the pieces I was working on. Other times we went page by page. All of my mentors were incredibly kind, generous, and profoundly knowledgeable. In general, I was blown away by the quality of their notes.
My advisors gave me great advice on general principals of writing but they also gave really great advice on how I could specifically improve my writing. I felt very supported but also challenged to do better. I have always dreaded getting notes. I dread it because it’s sucks to hear other people point out all your flaws and inadequacies. At the colony, I found myself looking forward to my notes sessions and trying to have as many extra sessions with my mentors as I could. It felt like I took a master class in screenwriting. I will continue to beg for their advice and criticism as long as they’ll have me.
Can you tell us a little about your overall journey at the Colony?
K: Not since my youth have I felt such a weightlessness and freedom in my every day life. It was such a gift to only have to worry about writing. Writing is so stressful and all encompassing. So often it feels like a chore. I didn’t feel that way in Nantucket. The days seemed longer and more carefree. The island of Nantucket is a national treasure. It’s full of gorgeous beaches, history, and cobblestone roads! If I felt blocked, I would go for a walk on the beach or out to the cranberry bogs. There was always someone to ask for notes or ideas. There were always movies to watch or other scripts to read. It was just so damn peaceful it was hard to feel stressed or anxiety about writing. Writing felt lighter, easier, it was even fun on occasion!
Going forward, I am going to strive to create moments like the colony. Whether it’s going away somewhere with a group of great people or just finding a common space to work with wonderful writers, I want to remember the feeling of freedom and excitement that I felt everyday at the Colony. What will I work on today? What part of the island should we get out and explore. The gorgeous natural landscape of Nantucket is awe inspiring and literally inspiring. Even though I don’t always live on a nature preserve, I’ve learned I should still get out in the world and look for inspiration.
Anything life changing occur while on the island (Nantucket)?
K: What happens on the colony stays on the colony.
Hossein told us a story wherein he was almost attacked by a dog. We sort of thought he was being dramatic. He is the baby of a very large family. Two days later we were out in the bogs and were lucky to make it out alive. I was prepared to sacrifice myself for Georgia if it came to that.
What was the best or lasting piece of advice/wisdom you received at the Colony?
K: Here are many pieces of advice as given to me by various mentors:
act1- should be 3-4 sequences
act 2-should be 5-7 sequences
act3- should be 1-3 sequences
Act II needs to keep the tension of the first act, but push it farther. Draw out the resolutions and the arcs that lead to the resolutions. Let it be tense. Let is stew. Make them work harder to get the resolutions. Main characters need to suffer more.
When things are disintegrating for all the characters, don’t get to the resolutions too quickly.
The middle should be twice the length of the set up. Have them start to fall apart sooner and then go much farther with their descent. Create misdirection. Look for ways to play with what readers know and when. Try to defy expectations. Maybe even confuse or surprise people about what will be inevitable.
Readers (and viewers) should be unclear about what will happen. Make the stakes big. What will the decide? Where will they go? Put things more at risk for the main character. Make sure the most dramatic thing happens at the most dramatic time.
Do you have any advice for budding screenwriters? Any advice for veteran screenwriters?
K: My advice to budding screenwriters would be to put in the time. Everyone knows the old adage, writing is rewriting. Certainly, that is true for me. Find something that ignites you and write your little heart out. Then rewrite your little heart out
My advice for veteran filmmakers would be to come be an advisor at the Screenwriters Colony. They give you a bike, a chef, and dope young writers to chill out with. The cranberry bogs are cooler than Sundance.
Kaitlin is currently in pre-production on MIRRORS, an independent feature about romantic relationships across cultural and socio-economic borders.
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