Resisting the urge to include extensive detail when writing a screenplay as you would when writing a novel is a difficult challenge for a screenwriter to overcome. Most writers who choose the screenwriting field do so because they think in film -- they imagine their stories unfolding shot by shot, scene by scene, image by image.
The job of the screenwriter is to convey those vivid images and scenes to the reader. This is often confused with the director's job of determining how certain scenes should be filmed. Deciding where to place the cameras, which actors to focus on, and when to pan or when to include a close-up are all factors that will be up to the director, not the writer.
So the question remains. How can you, as the writer, direct the reader's mind to imagine your film as you envisioned it, shot by shot and image by image?
The answer -- through the use of white space.
One immediately noticeable difference between script format and [click to read more...]
You may have written the most riveting piece of dramatic work in existence to date. Your dialogue may be perfect. Your characters may seem so real they beg to jump right off the page. Your story may rival those of Oscar-winning screenplays. It might even be so good as to put those stories to shame, but if your script never gets off the reader's desk, no one will ever know.
It's well known that readers are the gatekeepers of the film industry. It is also well known that while most readers would rather be doing anything but reading, they still spend countless hours making their way through stacks of scripts in the hopes of finding the next big blockbuster. The late-night caffeine-induced decision of one reader could be the turning point of your screenwriting career.
So how do you make certain that decision is in your favor? [click to read more...]
If you are an aspiring writer, you need to check out Holly Lisle's new writing course, How To Think Sideways: Career Survival School for Writers. It is a six-month class offered entirely online, and it covers an immense range of material. One of the students even referred to it as "grad school for writers", and I wholeheartedly agree with his assessment. The course is perfect not just for novelists but for screenwriters as well.
I can't recommend this course highly enough. There is nothing else out there like it. It will change the way you think about writing, and it will change how you think about yourself as a writer. It is incredibly motivating. The lessons are interesting and thought-provoking, and the techniques are practical and useful no matter your writing style. There's something for everyone. The sheer volume of information offered in this class could fill a library of how-to books about writing, publishing, and marketing.
Here are a few of the things you'll [click to read more...]
In my last entry, I described my personal experience with writer's block. I had an abundance of story ideas but I froze every time I faced a blank page. I couldn't even start writing, let alone complete a chapter or a whole novel or screenplay.
There are two types of writer's block. Writers who experience the first type suffer from a lack of ideas. Writers dealing with the second type have no shortage of ideas but suffer from an inability to get into the flow of writing.
This technique is intended for writers bogged down by the second type of writer's block. It's a trick I learned a couple of years ago but at the time I thought it sounded a bit silly. It seems to work well for me now that I've given it a fair chance. Give it a try. It will help you get the words flowing again.
Step 1
Grab one of your favorite books, preferably in the same genre as the story you're trying to write. You'll only need the first two to six pages, so if you don't have a copy of the book handy, feel free to select an excerpt from the author's web site and [click to read more...]
For the past year, I've suffered from a form of writer's block that is completely new to me. Actually, any form of writer's block is new to me because I've never had writer's block before. I've always had more ideas than I'll ever have time to write about, and I've always been able to sit down in front of my computer and write without hesitation. Then, a year ago, something changed.
At the time, I didn't know what changed. I only knew I'd suddenly lost my writing groove. The ideas came at me fast and furious, as always, but when I sat down to write, the words just wouldn't come.
I put my hands on the keyboard and froze. My mind drew a blank. I couldn't string two sentences together to save my life.
This went on for days, then days became weeks and weeks became months. I went through bouts of depression. I felt frustrated, angry, stifled, and confused. Writing was my outlet, and now that outlet was gone. It had slipped [click to read more...]
Words have the power to create images in the reader's mind. Those images are yours — the writer's — to control, to manipulate and direct based entirely on the words you choose to employ. That power is within your grasp. All you have to do is reach out and take hold of it.
How, you ask? Make use of that fantastic tool we call a thesaurus. You've all seen them before — you know, in the bookstore, shelved side-by-side with the dictionaries and a myriad of "How To Get Published In 90 Days Or Less" handbooks — but do you own one? If you don't already own a thesaurus, stop reading right now, head to the bookstore or Amazon.com and buy yourself one. A writer without a thesaurus is like an artist without paint, a sculptor without stone. The tools to create are there but the substance is missing.
Many a writer will claim, "I have all the words I need right here in my mind," but why limit yourself? Every one of us is raised differently, our environment playing a major role in the extent of our vocabulary and many times limiting that vocabulary to the specific slice of culture we're exposed to as we grow and mature.
In a language filled with variations and nuances, there may be twenty different words used to convey a similar meaning, and some words are naturally more powerful than others. While writers and readers may [click to read more...]
Finding a publisher for your novel or non-fiction book can be a daunting process, often marked by one rejection letter after another. It can take months or even years to secure a contract with a publisher. With the advent of print-on-demand publishing, a new crop of companies has emerged to provide instant self-publishing services to writers who do not wish to go through the process of finding a traditional publisher.
Through print-on-demand publishing, a writer can pay the POD publisher a fee to publish his or her book. The POD publisher accepts a manuscript from the writer in a file format such as Microsoft Word or WordPerfect and then uses that file to create a digital copy of the book. Whenever someone orders the book (whether it is the writer, a bookstore, or a retail customer placing the order), the POD company prints exactly enough copies to fill that order.
POD companies do not stock copies of the writer's book in a warehouse to fulfill orders. Instead, the digital printing technology allows them to print copies only as needed. Unlike traditional publishing, in which print runs of smaller quantities are cost prohibitive, a POD publisher can print only one copy at a time without incurring any additional expenses.
The print-on-demand publishing method has its advantages and disadvantages, but in my view as a novelist, the disadvantages outweigh [click to read more...]
