Advice — advice

Last time we introduced the idea of the "surface" journey, a journey which lacks the depth of a "profound" journey but which is nonetheless highly visible and a powerful aid in complementing a work. One of the seven surface journeys (such as romance) may not have the timeless impact of one of the three profound journeys (such as self-realization), yet romance, or any of the other surface journeys, adds an immediate arc to a work, and most importantly, to a character's journey. In our struggle to create a strong character and a strong journey for him, these highly visible markers...

Last week we looked at the three profound journeys. This week we'll turn to the seven "surface" journeys, journeys which are less profound, but equally important when crafting fiction. The profound journeys are internal and substantial; the surface journeys are external and might not be substantial. Nonetheless, they are highly visible, can have a great impact on a story, and must be used to fully complement a work. Before we turn to them, though, let's pick up where we left off last week. Last week we talked about a character's taking a profound journey and coming to a realization about...

"Writing a book is like driving a car at night. You only see as far as your headlights go, but you can make the whole trip that way." -E.L. Doctorow Hollywood studios test market their major motion pictures before releasing them to the public. They spend millions of dollars to gauge audience reaction, to find out, simply, if viewers are satisfied. What constitutes a satisfying experience? Is it universal? Is it something that can be manufactured? Why can't it suffice for us to watch merely a synopsis of a story? Why do we want to sit down with a 500...

If you make explicit what you already know intuitively about the structure of movies and stories, you'll have yourself a conscious plotting tool. The rhythm of story is in all of us right now, especially for those who were read to as youngsters and continue to read today. Storytellers often intuitively tap into this rhythm and are able to weave all three plot lines without much conscious thought to structure. When they get stuck, it is always because one or more of the three elements has been ignored by: * Concentrating on action only, forgetting that character provides interest and...

One of the best phone calls a writer can receive is when someone calls and wants to option his or her screenplay!For many writers, this can seem like a dream come true because it validates the months they have toiled away on their laptop, losing all sense of night and day, even neglecting friends and family. For others, this can be a scary moment filled with unanswered questions, especially if it is their first time in this situation.Here is what every writer should know about the ins and outs of Option Agreements and how to make the most out of...