You

There is a vitality, a life force, an energy, a quickening that is translated through you into action, and because there is only one of you in all of time, this expression is unique. And if you block it, it will never exist through any other medium and it will be lost. The world will not have it. It is not your business to determine how good it is nor how valuable nor how it compares with other expressions. It is your business to keep it yours clearly and directly, to keep the channel open.

Martha Graham

Poetic drunkenness

The writer who cares more about words than about story – characters, action, setting, atmosphere – is unlikely to create a vivid and continuous dream; he gets in his own way too much; in his poetic drunkenness, he can’t tell the cart – and its cargo – from the horse.
John Gardner (via LitReactor)

(Español) ¡Vuelve el podcast!

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There’s life out there

Some people say writing is their passion, their life, their this and that, their everything. You hear it from well-known authors and amateur scribblers.

For others, however, making a living by putting words together becomes an unbearable burden, but these are rarely seen. It was the case of Frederica Sagor Maas,who died a few weeks ago at the amazing age of 111. Hollywood scripwriter since before the dawn of sound, her texts helped launch the career of several contemporary stars. Her memories, however, focus on the chauvinism, misoginy and discrimination that, as a woman, she had to suffer in that industry in the 20s.

Her filmography in IMDB lists many of her works as “uncredited”:

I would work so hard on some of the scripts and the minute I’d turn it in, someone else would take credit for it. You’d be ticketed as a troublemaker. Unless you wanted to quit the business, you just kept your mouth shut.

She finally did quit the business and took a job as a policy typist with an insurance agency in 1950, quickly working her way up to insurance broker. she never regretted her decision and in one of her last interviews she claimed that if she had the chance again, she would still quit writing and would rather clean floors.

Not sure if that’s some consolation for those of us who don’t make a living with our writing. Or as they say in Disney films, be careful what you wish.

(Español) Una gota de humor

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Catching up with tips, day 5: Scenes

With this last day of Screenwriting Tips we introduce a topic which I expect to discuss in depth soon: the construction of SCENES.

874: Instead of just throwing characters into arguments, try thinking about their goals for the scene. Who’s trying to achieve their goal, who’s blocking someone else’s goal, and whose goal changes halfway through?

865: When writing action lines, stop trying to make the reader see exactly what’s in your head. Instead give them clear, sparse description and let their head do all the work.

833: Scenes feeling flabby and slow? Create a subconscious ticking clock counting down to the end of the scene. By setting scenes at a bus stop or in a waiting room, elevator, moving car, etc., you suggest a natural end-point before the dialogue even begins.

824: Don’t let your scenes sputter out like candles in a poorly ventilated room. If a scene feels too long, or ends too softly, here’s what you do: work backwards from the end, find the most dramatic line/funniest joke, and end it there.

804: The primary objective of every scene — before being funny or clever, before advancing the plot or developing the protagonist’s arc — is to make the audience want to know what happens next.

773: The first joke you think of (“Teens text a lot”, “Men always want sex”, etc.) is always going to be a cliche. That’s why you thought of it first. Same goes for action scenes — we’ve all seen the same car chases and firefights. Think past the obvious answer.

With this we complete our week devoted to the advice from Screenwriting Tips. Did you like it?

Catching up with tips, day 4: Horror

Horror is not only a genre. It’s easy to forget that it’s also an emotion, and a very powerful one, that we can use in all kinds of stories at some point or other. Here are a few recent Screenwriting Tips on HORROR.

861: Horror is when the audience has no idea what’s going to happen next, coupled with the awful suspicion that maybe they don’t want to find out.

825: The longer you draw out a mystery, the better the payoff has to be.

797: It’s easy to make us empathize with horror movie characters. It’s a lot harder to make us empathize with the monster (also a lot more fun, and potentially more disturbing).

796: Horror has to be transgressive — a violation of the normally-polite pact between storyteller and audience. If you’re not crossing some kind of line, you’re doing it wrong.

772: Fear of the unknown only works up to a point. Horror that never explains itself or establishes any sort of rules eventually becomes frustrating, then laughable.

Worth thinking about it, right?