Free Live To Write Another Day by Dean Orion Page B

not only responsible for half the ideas, but half the workload as well. In reality, nothing ever shakes out exactly even, but if there’s good communication between the parties, clearly defined expectations, and a sincere work ethic, you’ll be well on your way to doing some great things together.
     
The Partner Process
    Like the process you create for yourself, the process you develop with a writing partner needs to emerge organically over time. Almost all of the collaborations that I’ve had with other writers have begun with simple conversations, sometimes accidentally, where we both found ourselves intrigued by a specific idea or a mutual area of interest. In some cases, one of us may have already written down some notes on the subject or done some high-level brainstorming, but generally it’s best to pretty much start from scratch.
    That first conversation usually turns into a series of conversations, during which time we also separately do a little homework. This research period tends to be less intense than the one I described earlier, because in addition to sharing the workload, the knowledge gap also seems to close a lot faster when two people bring their life experiences and their collective energy to the table as opposed to just one.
    When we get to the Concept Document phase, my preference is to continue working together in the same room, possibly with a white board, while we further define all the high-level aspects of the story. Then one of us can go off and transcribe the notes and begin to write up the document, which we can then pass back and forth, editing until we’re happy with it.
    At this point, it is still preferable to be in the same room so we can work on the structure and lay the foundation for the outline together. Otherwise, one partner tends to do more of the heavy lifting on the story than the other, which skews the creative equation a little too much in one person’s favor. (Not that you can’t make it work either way. I just find it a little more effective to do this work in person.) Then, once you reach the outline phase, you can pretty much work in separate locations the rest of the way, again passing documents back and forth until you’re satisfied with them.
    When writing the actual script, I’ve found that the best way to ensure that each of your voices is being fairly represented is to write no more than a scene or two before you pass it back to your partner. You’ll also need to establish some ground rules at this point, governing how extensively each of you can rewrite the other. Here’s an arrangement that works particularly well:
    As long as each writer remains consistent with the outline, all rewriting is fair. However, if either writer wants to do something that represents a significant departure from what has already been mutually agreed upon, then a conversation needs to take place before any blood can be drawn.
    As you can imagine, this process can definitely get a little trying at times. Each partner can have a very different take on the nuances of how each character behaves, how each character sounds, and how a particular scene should go (even when you’ve agreed upon its placement and its content).
    Regardless of the arrangement, one thing remains absolutely true:
    You’ve got to be willing to compromise when you work with a writing partner.
    You also have to be able to exercise a great deal of tolerance and patience—which means completely buying into we at the expense of me .

 
     

     
    SURVIVAL GUIDE SUMMARY
     
    10. Writing Partners
     
     
    Things to Remember:
     
    • Being in a writing partnership is like being in a marriage. It’s an intimate relationship that needs to be based on trust, mutual respect, and commitment.
    • The partner process takes time to evolve. You have to work at it.
    • It’s usually best to be in the same room with one another through the brainstorming, concept, and structuring phases.
    • Once you begin outlining, it’s