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Rules For Writing + One Non-Rule Rule

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1: Write regularly. Daily might be extreme, but try to be extreme.
2: When in doubt / take it out.
3: At the end of your writing day, do not complete the action/description/dialogue – but know what it is. Start with this known at your next writing time. 90% of the time you will slide right back into the work.

4: Eschew, Ignore and Abandon All Hope Ye Who Enter Here, the notion that there are no rules. There are rules to everything. Artistic Creation demands rules.

5: Follow your characters.
6: Follow your characters.
7: Follow your characters.

 

(image) https:/c1.staticflickr.com/5/4252/34743456922_7b4deab196_b.jpg

Letters Of Reality Or Romance

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Dear Eustace:

My mind confronts so many intangible truths that you sometimes seem

– or is it just hope on my part –

to be my only peg of reality.

Have you noticed whenever we finally believe

we know the reason for something which happens,

it often occurs that the real reasons are exactly the opposite

of what we supposed.

Everything walks a line

– as narrow as those upon this page –

between profound revelation and mindless absurdity.

As I look through my window,

the shadows cast through the trees on the next building,

take the shape of a French poodle carrying a parasol.

Is even Nature absurd?

Yours,

Margot
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

Dear Margot:

Nature is nothing but reality,

only the intangible can be absurd.

As I’ve said too many times

(and why do I repeat myself yet again)

you spend too much effort

– and wasted effort, for how can it be other –

on futile quest and query.

The only truth to be found is in sour milk

or pleasant fornication

– these things are real, these things exist.

Absurdity is kittens playing

or the Prime Minister’s latest speech.

These things we look at with amusement

or contempt

– we know not to expect much from either.

Quit you silly endeavours

and join the world which surrounds you,

not the one which your head surrounds.

All important answers can be found between someones legs.

Yours,

Eustace

 

DE

(image)http://i.huffpost.com/gen/2463292/images/o-HANDWRITTEN-LETTER-facebook.jpg

“Burning In Berlin” Screenplay : The Three Ravens Shuffle Together

 

 

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EXT. TOURIST BUS – DAY

Peering faces, and Tour Guide’s finger pressed to window.

EXT. INFORMATION SIGN – DAY

 

A second Raven settles upon the sign. It hops about until it

stops over the word ‘Fehurer’.

 

EXT. TOURIST BUS – DAY

 

A BOY and GIRL, both slender and twelve, are staring from a window. A MAN WITH AN EYE PACH, in his forties and muscular, wearing a suit from the Salvation Army and a work shirt, bends over them, peering.

 

INT. TOURIST BUS – DAY

 

The Boy and Girl have their heads together. The girl moves her

hand, and points through the top of the window.

 

EXT. LINDEN TREE – DAY

 

A third crow is landing on one of the branches. The other two

are agitated, but quickly settle.

 

INT. TOURIST BUS – DAY

 

The Man With the Eye Patch hastily puts his hand over the

girl’s mouth.

 

MAN WITH EYE PATCH

Shh.

 

EXT. TOURIST BUS – DAY

 

The girl moves her hand from the window. The childrens’

faces move back.

 

EXT. LINDEN TREE – DAY

 

The two Ravens in the branches descend to the Information

Sign.

 

EXT. INFORMATION SIGN – DAY

 

The Three Ravens shuffle together, and stand shoulder to

shoulder.

 

EXT. TOURIST BUS – DAY

 

The Tour Guide has his head pressed against the window.

DE

(image) http://cdn1.arkive.org/media/38/38D48A55-17E9-423C-8B22-BDC9D98D6096/Presentation.Large/three-ravens-in-courtship-display.jpg

 

Turning A Novel Into Film – Characters On The Loose

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When adapting a novel manuscript to a film script, I realize it will take a whole host of other people to tell me how successful I might be. I’ve done this twice before, and realize that I must not only ignore my usual method of writing, but often go exactly against it.

I attempted to “learn” how to write for film. I read many instruction books, attended classes and workshops, and had meetings with people. I read many film scripts, which did help me accept the (to my eye) arcane format. But the one thing that actually turned me visual, was the comment of a writer/editor friend who said, after reading my attempt, “I can’t see it.”

That is, it did not cause visual action in her mind.

And I understood.

Perhaps the biggest hurdle is to accept that a movie is not a book, and that changes, additions and omissions will be necessary. As with a play, there is a finite time limit, that generally clocks in under two hours. The threads and plot points of a movie are different. And the characters (I swear) feel this freedom, and choose to accentuate other aspects of themselves than revealed in a novel.

The very fact their paragraphs of dialogue are best reduced to two or three lines makes them uppity. And because they can, in mere seconds, be in diverse locations, performing radically different actions, they become exact without apology. They don’t have to fill in the spaces.

The writer has to fill in the spaces however, and do so with visual stimulation. The transitions have to be swift and their descriptions exact. The road is always the fast lane and the characters kick the tires with gusto.

DE

(image) http://www.indiewire.com/wp-content/uploads/2014/11/screenplay_square.jpg

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