Advice

To steal someone's car, money, parking space - that's low. But to steal someone's story? A little made-up tale? A hundred pages of FADE IN here and CUT TO there? Is that even stealing?Um, how can we put this - YES, DAMMIT! It is! Stealing of the worst kind! Because many hours have been spent and emotions invested, and, funny, but an original story that's already been read by half of Hollywood somehow just doesn't seem so original when pitched a second time. Cars are insured, money can be borrowed, and, okay, a good parking space can be worth quite...

Last issue we examined the 7 surface journeys, and learned how finance, friendships, physical change, education, stature and family can quickly and effectively impact a character's journey. We've by now covered all of the profound and surface journeys--yet the journey does not end there. There are other influences that can impact a character's journey, other issues to keep in mind that can have equal weight on his path and destination. Let us consider a few of them. Journey and Circumstance Say your character returns home to find his house burned to the ground, or that he loses his entire family...

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...