Character and Characterisation in the Novel How to write convincing characters Characterisation - the task of building characters - isn't easy. But if you're struggling to build characters with real life and vigour, just follow these rules. If you do follow them correctly, we can pretty much guarantee that your characterisation will be just fine! Know what kind of character you are writing There are roughly two types of protagonist in fiction. The second type of character (rather less common, in fact) is the genuinely extraordinary character who would make things happen in an empty room. Either type of character is fine - don't struggle to equip your ordinary character with a whole lot of amazing skills, or try to 'humanise' your James Bond character by making him nice to old ladies and interested in baking. Empathy is about story and good writing Likewise, don't worry too much if your character is likeable. A) you write well enough that your reader is drawn in to your protagonist's world, whether they like it or not; and
Paper Team - Weekly Podcast About TV Writing - TV Calling What is Paper Team all about? Paper Team is a weekly podcast about television writing and becoming a TV writer. It is for people working their way into the business from the ground up, who aspire to be TV writers (whether drama or comedy). It is also for everyone interested in the television industry and everything around it. Every episode, we alternate between two threads vital to being a successful TV writer: the business side, and the writing side. On the industry end, we discuss things like meeting people, networking, finding work, pitching, being an assistant, and the television business itself. On the writing front, we tackle anything related to our craft. Latest Paper Team episodes: TV Writing Episodes: Perspective and POVs in TV Writing (PT88)May 7, 2018Alex and Nick discuss how to use your characters' perspectives and points-of-view to drive your episode narrative. TV Business Episodes: From Intern to TV Writer ft. TV Medium Episodes: Shownotes Subscribing to Paper Team Mac and Windows
How to Finish What You Start: A Five-Step Plan for Writers How to finish what you start Do you have a bunch of first chapters tucked away in a drawer – for seven different novels? Is there a folder full of abandoned short stories on your computer? Have you left a trail of abandoned blogs around the internet? Did your ebook fizzle out after a few pages? Most writers have been there … again, and again, and again. Maybe it’s the same for you. No-one’s going to buy a half-written novel. Here’s how: Step #1: Stop Starting New Projects Believe me, I know how tempting it is to grab that new idea and run with it. Do it: Decide, right now, that you won’t start anything new until you’ve finished something off. Step #2: Assess Your Current Projects Take a long, hard look at all your current works-in-progress. Is there anything that’s just not worth completing? Rather than keeping old projects hanging around, ditch any that have died on you: As with all dead things, holding onto it won’t keep it alive or change the fact that it’s useful time has come and gone.
Screenplay Scene Description: Amateur Writers vs. Pro Writers Often screenwriters are so busy grappling with the dynamics of their story, what their protagonist wants, what pages their act breaks are falling on, etc. they forget to address the most immediate indicator of talent — writing style. Great screenplay scene description, however, immediately communicates to your reader that your writing is at a certain level. That you haven’t just woken up one day and thought “I’m going to write a script and sell it for one million dollars!” From the very first sentence, a reader is able to place where a writer is in terms of ability. So what you need to do is show right away that you’re someone who’s studied the craft and knows how to write first class scene description. But before we get started with the amateur vs. pro screenwriters’ writing styles… Just What Makes Great Screenplay Scene Description? One of the main aspects of great script description is its ability to put clear images in the reader’s mind of exactly what the writer wants them to see.
Max Barry | Fifteen Ways to Write a Novel Every year I get asked what I think about NaNoWriMo, and I don’t know how to answer, because I don’t want to say, “I think it makes you write a bad novel.” This is kind of the point. You’re supposed to churn out 50,000 words in one month, and by the end you have a goddamn novel, one you wouldn’t have otherwise. If it’s not Shakespeare, it’s still a goddamn novel. The NaNoWriMo FAQ says: “Aiming low is the best way to succeed,” where “succeed” means “write a goddamn novel.” I find it hard to write a goddamn novel. Some of these methods I use a lot, some only when I’m stuck. The Word TargetWhat: You don’t let yourself leave the keyboard each day until you’ve hit 2,000 words.
How to Write a TV Pilot, pt. 2: Character – Sitcom World In the first part of this series, I talked a lot about matching the right character(s) to your premise. While a lot of the fun of watching (and writing) television comes from a well-drawn ensemble cast of characters, in your pilot you’ll want to put the most focus on your protagonist. Your protagonist Most people recognize that word from high school English class as the main character of a story. This is true. The protagonist must actively cause the events of the story to occur and be motivated to achieve their goals. If your premise is that your show takes place in a haunted bakery, let’s say your protagonist is the newest owner of the bakery. So in one paragraph, you have an entire TV series. Without her motivation and the obstacle obstructing her from achieving her goals, you don’t have a show. Everything that happens in the show is because your protagonist made a choice to pursue a particular goal. Your protagonist’s goals Your protagonist must be the one who drives the story forward.
Write Like a Girl (or Guy) If all the characters you create talk exactly like you do, no one but your mom is going to want to read your book—and maybe not even her if you haven't called recently. That's why you need to understand how to write dialogue that sounds authentic, even when your character differs from you when it comes to their age, region, education level, social status, background, personality, and/or gender. Each of these factors plays a role in how a person (real or fictional) speaks, and you need to consider all of them to make your characters’ dialogue sound truly legit. But today we’re focusing on gender. Let’s preface this whole shebang with a disclaimer: Like anything involving differences between sexes, this can be a bit of a touchy subject. Things have improved significantly. Handling problems If you're ever perplexed about how to write dialogue for a character with a particular trait, your best bet is to spend some time carefully listening to people who share that trait. Asking questions
A Massive List of Spring 2018 Grants All Filmmakers Should Know About Will this year's Rites of Spring include getting your hands on some cool cash for your next film? With the spring season right around the corner, it's time to unveil our seasonal grants list as the weather begins to show further signs of warmth. As always, the following opportunities are organized by deadline, from March through early June, and by category: documentaries, narratives, screenwriting, and new media. If you're looking for a head-start on a different granting season, check out our most recent summer grants, fall grants, and winter grants roundups. Note: An asterisk next to the grant title means there is an equivalent grant for both doc and narrative. As always, use your best judgment when deciding to apply. Center for Asian American Media Open Call The Center for Asian American Media will award between $15,000 and $50,000 for public television appropriate documentary programs. Deadlines: March 1 Vision Maker Media Public Media Project Fund ITVS Digital Open Call Deadline: March 2
6 Ways to Hook Your Readers from the Very First Line Although I consider myself an avid reader, I must admit I have a short attention span when it comes to getting into books. If you fail to grab my attention in the first few lines, I start spacing out. Most readers are like me. Here are a few things I find annoying in the first lines of a story: Dialogue. The last thing you want to do as a writer is annoy or bore people. (N.B. 1. Put a question in your readers’ minds. “Those old cows knew trouble was coming before we did.” 2. By starting at an important moment in the story, your reader is more likely to want to continue so he or she can discover what will happen next. “It was dark where she was crouched but the little girl did as she’d been told.” 3. Description is good when it encourages people to paint a picture in their minds. “Last night I dreamt I went to Manderley again.” 4. The promise of reading more about a character you find intriguing will, no doubt, draw you into a story’s narrative. 5. 6.