How to write a scene. One of the thing I admire most about Jane Espenson’s blog is that she talks very directly about the words on the page, giving names to techniques I use but never really think about. The two-percenter, for example. So one of my goals for 2007 is to get a little more granular in my advice-giving, and talk less about Screenwriting and more about screenwriting — in particular, scene writing. Spend a few years as a screenwriter, and writing a scene becomes an almost unconscious process. It’s like driving a car. It’s the same with writing a scene. So here’s my attempt to introspect and describe what I’m doing that I’m not even aware I’m doing. Many screenwriting books will tell you to focus on what the characters want. The question is not, “What could happen?” Imagine the projectionist screwed up and accidentally lopped off this scene. But it’s so dramatic! Tough. Scripts are often clogged with characters who have no business being there. Don’t rush this step.
Writing advice News, Videos, Reviews and Gossip - io9. The 22 rules of storytelling, according to Pixar. » 5 Ways to Make Your Novel Unforgettable. Only the invisible bears us up; we speak together in the shocking darkness, each carrying the other somehow, unseen. —Derek Raymond Here’s the thing about storytelling, folks: it has to have a purpose.
Why are you telling this story? I mean, what’s your point? If your point is that writing fiction is one heck of a fun and entertaining way to spend your leisure time, then I say, “Good for you.” Have yourself a field day. However, if your point is that you expect to sell this story and make money off other people reading it, then I say, “Know thy audience.” And if you can’t give them that. . .well, don’t be holding your hand out waiting for the cash registers to start ringing.
There is only one purpose to storytelling, and that is to get to the CLIMAX. Resonance This is the simplest technique ever, but aspiring writers rarely know about it. The simplest technique ever. Fuses This is the part pantsers love doing but rarely know they have to follow up on. That’s not a CLIMAX. Logic Surprise A. » 5 Ways to Make Your Novel Helplessly Addictive. » 5 Ways to Make Your Novel Inescapable.
Never doubt that thoughtful committed citizens can change the world; indeed it is the only thing that ever has. —Margaret Mead We’ve backed up through your novel ala E.L. Doctorow’s taillights in the past few weeks, starting with the key to the best possible CLIMAX, followed by the key to the best possible DEVELOPMENT. Guess where we are now? Yep. That’s right. How do you design a HOOK that gets your reader’s imagination in a half-nelson and simply won’t let go? Surprise You recognize that one, don’t you? Curiosity killed the cat, and it will kill your reader, too, and they won’t care.
Make it worth their while. What on your first page was the reader not expecting to see there? Even further, what about the whole point of your HOOK—which is the climax you’re going to reach, approximately 1/8-1/6 of the way into your novel, the whole point shows just how dreadful of a pickle your protagonist has gotten themself into? First page: Point. HOOK climax: Counter-Point. Mystery Point. Conflict Charm.