"The universe is made of stories, not of atoms."
—Muriel Rukeyser
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Showing posts with label writng. Show all posts
Showing posts with label writng. Show all posts

Dealing with your Type-C Creative Mind: Principles ⁠




For all storytellers—novelists, screenwriters, journalists, nonfiction writers, and children’s book writers.⁠
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Learn more about One-on-one coaching to help understand a Type-C personality and equip you with practical tools to make yourself more productive and less frustrated with storytelling.⁠
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Learn more: http://www.thewriterslifeline.com/

Ken's Weekly Book Recommendation

The Meander Tile of Lisa Greco" Romance of Mythic Identity Book 2 by Andrea Aguillard




Ancient excavations reveal the key to two lovers' identities.

Second generation Italian-American Lisa Greco is about to receive the reward she's worked her head off for--but she's not sure it's what she wants anymore.

She's always postponed exploring her creativity, and discovering her Neapolitan origins. So she throws the dice, and goes to Naples where she meets a mysterious Japanese-Italian professor of mathematics and itinerant tenor who's in search of his own roots. This leads her to do something she's never done before. She takes his hand as he leads her into the darkest recesses of the ancient excavations that reveal the key to both their identities.



 

How to Write a Pilot for a Television Series By: Yvonne Grace



A well-written pilot for a television series opens the door to the world you want to explore further. Yvonne Grace shares tips to set up your storylines, create jump off points for your characters and grab a producer’s attention.

Writers working with me at Script Advice Towers, learn very early on that I am obsessed with structure. This is a good thing, because storytelling for Television is entirely dominated by this knotty problem. A weakly structured series storyline will not deliver the emotional clout nor the dramatic impact required to make a dent in the story hungry mind of the savvy series binge watcher.

So, first, nail your structure. I have blogged about this here.

Once you have the series arcs down in broad stroke, you will be able to tackle the pilot with confidence.

I strongly suggest starting with the series outline of your TV idea before you hit the script writing stage. This is because at all times, when writing for television, you need to be aware of the series elements of your story and each episode, although important in their own right, must also link and connect with the episodes following on after—like the beads in a necklace.

The first 10 pages are crucial in the writing of any pilot for television. I outline six essential elements to the construction of your first pages below, but also keep these headings by your writing desk, as a reminder to ensure you have the key facets in your pilot:

DRAW IN YOUR AUDIENCE—remember the visuals!

ENGAGE THEM—plant the story seeds here.

HOLD THEM—explore character and introduce intrigue or questions.

CHALLENGE—deliver a great plot twist or observation via character.

PUSH ON—use the pace of this reveal to move the narrative onwards.

OPEN WITH A STRONG VISUAL
The story is starting. Set the scene.

Geography; a panoramic landscape or a cosy tete a tete in a suburban sitting room, a graveside, a roof top, or the inside of a rapidly packed suitcase, begins the story for you.

You may need to establish the way a character behaves, or show the essential dynamic between a family. Do this visually. This visual can be a strong natural image, or series of images, or it can be an action packed traveling sequence or we could be following your main character at their job, but in this visual, we need to see the essential elements of what you will be exploring later.

Start the audience wondering what’s going to happen.

Examples of visual starts in scripts, picked as randomly as possible:

Roof tops of a Northern town. We pick up a central character putting the bins out. They look up and we see what they see; their ex wife doing the same; they stare across the cobbles at each other. Coronation Street.

Wind swept moorland and a galloping horse. A man is riding very fast to somewhere but we can be sure it will be where the next bit of the story will start so we are keen for him to get there. Poldark.

A man stands in a desert in his underpants. He is holding a gun. There’s a Winnibego next to him. It looks very hot and he looks very upset. Breaking Bad.

Two elderly people in a cafe. Quintessentially English. Their conversation soon encompasses their respective spouses and off spring. They appear to be strangers at first but we realise they are actually flirting. Last Tango In Halifax.

The back garden of a local house in rural Yorkshire, grumpy Cop realises there’s nothing she can do about the mauled sheep found dying on the nice old lady’s neatly mowed lawn. She accepts a cup of tea and when the lady pops back to her kitchen, she staves the sheep’s head in with a brick. Happy Valley.

A jaded journalist is a reluctant part of a discussion panel for a room full of young journalists and students on the nature of America and its place in world politics. He sees his ex in the audience with a prompt card. He decides to tell the truth. The News Room.

CRACK INTO CHARACTER
Every second counts on the screen; translate that directly to the page—there should be no extraneous action or dialogue in your pilot and this is even more important in the first 10 pages.
Motivate dialogue by subtext.

The subtext  will push the narrative forward. It is not only what a character says that is important in informing us about them. It is how they say it. So remember the action; ‘see’ how your characters move and interact.

START THE PLOT MOVING
If the subtext is deep and solid in all your characters’ motivation, you will no problem moving the plot forward. But it is essential that you keep up the pace here. In the first ten pages the plot; or text, motivated by the subtext of your characters must get to a point whereby your audience will want to get to the next 10 minutes. So you need to set up the main frame of your story in these pages and also introduce a twist, or an added point of engagement that will jettison the narrative forward.

SET UP THE DESIRED GOAL
All your characters want something. Set this up in the first ten pages.

ADD THE OPPOSITION TO THAT GOAL
The truth and therefore the point of dramatic engagement from both your reader and ultimately your audience, will come from the interplay between what your character wants and how you, the writer choses to stop them getting it.

WRITE AUTHENTICALLY
Write from your own personal centre of truth. We all have emotions, conceits, ideas and mantras that we follow in life. Things that matter to us.

Writers need to tap into that complex, dense, often not very savoury centre of ‘us’ and then the story unfolds in a truthful way, then the real connections can be made between those that create these scenarios for our screens and those that watch them.

We are in the business of bringing a 360 degree experience to the audience. So if you don’t personally feel it. They won’t.

Tap into what you know about your world. Not what you think we want to know.

Beyond the first 10 pages mark, if you’ve got the key elements in place, your pilot should have a strong sense of place, the characters will be established and the key story elements will have been seeded. There will also be a sense of tone and pace to this script – even at this early stage.

THE FIVE ACTS:

Television stories are most often constructed in a five act format. However, nothing is truly set in stone here. I am of the school of thought that does not hold to a prescriptive view of the act structure. Nothing is guaranteed to make me want to put my head in the paper shredder more than a script that has clearly been written to a formula. Audiences (like your reader) are sophisticated in terms of story appreciation. If the story has a natural pace, if the scenes engage and the narrative is moving across your time frame then you can be confident your act structure is working.

ACT ONE: Set up, seed story points, use the five pointers for your first ten pages, move the plot on.

ACT TWO: Establish a twist part way which will lead to ….

ACT THREE: Explore what you have set up, build your various story lines to peaks—so there is a sense of climax and don’t forget the pay off, which is the down ward slope of your story ‘peak’.

ACT FOUR: Pulling everything together now, with a twist to create ….

ACT FIVE: Now build to the end point and the crucial ‘out’.

The Pilot is the first step along the series path for your Producer and also ultimately your audience.

Written well, it opens the door to the world you want to explore further. Here, you will set up your storylines, create jump off points for your characters, set them on course, establish the world in which your characters live, and begin to explore the message that you are presenting through your interplay between the text and the subtext. The Pilot is the first step along the series path for your Producer and also ultimately your audience.

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Kristin Wong Tells You How to Finally Write Your Nonfiction Book


Image result for women writing images

No, it will not be easy. Yes, it will be rewarding. (Eventually.)

“I’d like to write a book someday.”

Like many writers, I said this for years before finally deciding to commit to the long and grueling process of publishing my first book, which is about personal finance.

Most authors would probably agree that writing a book is one of the most difficult challenges of their careers. You spend your summer inside writing while your friends post photos of their beach vacations on Instagram. Once your book is published, the work is far from over: You must now sell it like your career depends on it, because it kind of does. Failure is a constant fear, and impostor syndrome can feel overwhelming. But more often than not, it’s also completely worth it.

Consider your ‘platform’

Before you write your first word, ask yourself: Do I have an audience? And, most important: Does my idea actually appeal to readers?

“My most common recommendation for people who want to write a book is, ‘Don’t — not yet,’” said Ramit Sethi, the author of “I Will Teach You to Be Rich.” “Build a large audience first.” Mr. Sethi, whose nonfiction personal finance book started as a blog with the same title, was able to amass hundreds of thousands of readers before he landed a book deal.

Building an audience isn’t a prerequisite, of course, and it’s certainly not easy, but publishers like authors who come with a built-in market.

Don’t write your book — yet

Many aspiring authors assume that getting started means cranking out tens of thousands of words before you approach an agent or publisher, but it might depend on the book. If you have an idea for a nonfiction book, it’s better to write a couple of chapters and then pitch a book proposal. That way, you can see if there’s any interest before you churn out 80,000 words on a given topic.

Even though you might not need to write the entire book before pitching it, it’s likely that if an agent or potential publisher likes the idea, they’ll still want to see at least two sample chapters. In any case, you’re going to want to fully flesh out your idea and write up those sample chapters before reaching out to agents, or, if you’re still building an audience, a few blog posts on your topic. Doing so will give you a deeper sense of what your book is about and what the rest of the writing process will be like — and this will also help you firm up your ideas of what the rest of the book will be like.

Decide how to publish

With traditional publishing, you’ll put together a book proposal, find an agent and then your agent will send your proposal to publishers. If those publishers like your idea, they could make you an offer. If multiple publishers like your idea your book might even go to auction, which could help you secure a more lucrative deal.

If a publisher buys your book, your advance from the publisher will likely be paid out in installments (typically two or three). How those payments are broken up varies widely, but one possible combination is a third paid on contract signing, another third on manuscript delivery, and the final third upon publication. (Though sometimes the advance is paid out in two sums, and, in some instances, four or more.) You won’t earn royalties from your book until you sell enough copies to outearn your advance.

Self-publishing means publishing your book on your own, or with the help of a self-publishing platform like Amazon Kindle Direct Publishing or CreateSpace, which is also owned by Amazon. Barnes & Noble also has a self-publishing platform.

“As a self-published author, you have more control of your work because you have more control of your deadlines and budget,” said Nailah Harvey, author of “Look Better in Writing.” “Some people do not work well with the pressure of third-party deadlines, so self-publishing may be a better fit for their personality.” You also have full creative control over your work, Ms. Harvey said, whereas with a publisher, you may have to bend to their ideas for your book title, cover and content.

Mr. Sethi, both a traditionally published and self-published author, said your choice will partly depend on what’s more important to you: profit or credibility. Traditional publishing lends you the latter, while self-publishing can be more profitable because you won’t have to give a percentage of sales to an agent and publisher. On the other hand, an agent and publisher might be able to help increase your reach to make those sales.

Self-publishing also means your book will be available on only the platform you publish with, and it likely will never get on shelves in physical bookstores or libraries.

If you opt to self-publish, Amazon Kindle Direct Publishing, an online publishing platform for digital books and paperbacks, is an ideal place to start. The site includes manuscript templates you can download and follow. You’ll write, edit, proofread and format the book before uploading it for approval.

Self-publishing means you have to do all of the work, like designing a cover and proofreading, yourself (or hire people to help).

Write your book proposal

While an agent will likely want to see the completed manuscript of a novel, a nonfiction book typically requires a proposal, which is a detailed outline of what your book is and why it matters. Rather than thinking of your proposal as an introduction to the book, think of it as a business case for why it’s worth a publisher’s time and investment.

You’ll make the case for your book’s marketability in this proposal, so you’ll want to include sections on your target audience, competitive titles, a table of contents and an outline. You can find downloadable book proposal templates online. For example, the publishing platform Reedsy includes detailed explanations of what’s included in a book proposal on their blog, along with a template you can download. The literary agent Ted Weinstein shares a simple nonfiction template on his website. And Jane Friedman, a Publisher’s Weekly columnist, includes a brief outline and introduction to writing a book proposal on her website.

“If it’s a big New York publishing house, they’re probably looking for an idea with relevancy or currency in the market, combined with an author who has a platform — visibility to the intended readership,” Ms. Friedman said.

Publishers also like to see numbers. Try to quantify your platform using metrics like your combined social media followers, newsletter subscribers or monthly page views on your blog.

Find an agent

“An agent is a near-requirement if you want to be published by one of the major New York publishing houses,” Ms. Friedman said. While you can approach smaller publishing houses and university presses directly, you’ll still need someone to look over your contract. If not an agent, you’ll need to hire a literary or intellectual property lawyer once you get to that step, she added.

Start your search for an agent using databases like AgentQuery and P & W’s Agents Database. You can also search Publishers Marketplace for their deals section (subscription required) and the Association of Authors’ Representatives. A lower-tech option: Look in the back of similar books to see who the author thanks in the acknowledgments.

You may have to query multiple agents about your idea. Ideally, one of them will bite and want to represent you. Then, you’ll have a helping hand through the rest of the process. The agent will pitch your book proposal or manuscript to publishers, which can lead to getting-to-know-you meetings with publishers and editors, or both. If a publisher loves your idea, your agent will then negotiate the contract and terms with input from you as needed. It sounds simple, but this can take much more time than many writers expect.

Now it’s time to write

Start by establishing your writing habit. Don’t look at your book as a monster, 80,000-word project; view it as a collection of tiny goals and achievements you can knock off one at a time. (One way to structure this type of working: make micro-progress, or the smallest units of progress.)

“Since money can equal time in some ways, I used my steady paycheck to buy myself time to write,” said Paulette Perhach, author of “Welcome to the Writer’s Life.” “For instance, I outsourced the cleaning of my place once a month while I went and wrote for three hours in a coffee shop.”

Ms. Perhach said she gave herself a small goal to write for one hour per day, then shared that goal with loved ones. She also joined writing groups, which can be a helpful step for many writers who may find it hard to turn in work without a real deadline. A 2014 Stanford study found that working on a team makes you feel motivated, even if you’re really working alone. If you have friends who like to write, you could organize a writer accountability group with weekly or monthly deadlines.

There are also existing groups and organizations you can join. In November, NaNoWriMo (which stands for National Novel Writing Month) encourages writers from all over the world to sign up on its website and begin working on a goal of writing a 50,000-word novel by the end of the month. Many libraries and writing centers host regular writing groups as well.

Think about schedules instead of deadlines

You’ll want to organize your writing workflow so you’re encouraged to keep up with the habit every day.

First figure out how much time you have to write each week, then schedule that writing time into your day. Some writers like to get their words out at night, after everyone has gone to bed. Others prefer to write as their first task of the day. Experiment with different times to find what works for you.

Once your writing schedule is in place, you’ll have to decide what you want to write. Books are big — where do you dig in first? In a lecture at Columbia University that was later published in “Changing My Mind: Occasional Essays,” the novelist Zadie Smith said there are “macro planners” and “micro managers.”

“You will recognize a macro planner from his Post-Its, from those Moleskines he insists on buying. A macro planner makes notes, organizes material, configures a plot and creates a structure — all before he writes the title page. This structural security gives him a great deal of freedom of movement,” Ms. Smith said in her lecture. Micro managers, on the other hand, have no master plan for their writing and simply figure out the ending when they get there.

Again, a little trial and error works well. You can try to just start writing your first draft, and if you find yourself stuck, start again with the outline and work from there. Or you might just try to start writing about something that excites you.

If your writing system feels chaotic, there are tools that can help you corral the mess. Scrivener is a popular writing program designed to help authors organize and research their books. When writing my book, I used a simple Excel spreadsheet that included my table of contents, along with the tasks that went with it. Each chapter also had its own separate Excel sheet that included more detail about what I wanted to include in that chapter, like interviews, references and research.

Dig in for the long haul

The most common question aspiring authors asked when I finished my book: How long did it take? It’s hard to quantify how long it took, but writing a book is an exercise in patience.

When I started to get serious about my idea, I bought “How to Write a Book Proposal.” From there, it was two and a half years until I convinced an agent to represent my idea, and another year and a half before my book was on a shelf.

“I think you should plan for at least one year to write the first draft of a book, and a second year to rewrite it,” Ms. Perhach said. Of course, it can take much longer than this, but most writers can expect at least a couple of years to pen a book.

“Writing is like putting together Ikea furniture,” she added. “There’s a right way to do it, but nobody knows what it is.”

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