Below is the list of winners from the recent ACFW Conference. Congratulations to all! And a special cyber hug to pals, Sharon Hinck and Camy Tang! Way to go, girls!
Debut Author
Sushi for One? (Camy Tang) – Zondervan, Sue Brower
Contemporary Novella
Finally Home (Deborah Raney) – Barbour Publishing, Susan Downs
Historical Novella
Love Notes in Love Letters Anthology (Mary Davis) – Barbour Publishing, Rebecca Germany
Lits
Splitting Harriet (Tamara Leigh) – Multnomah Books, Julee Schwarzburg
Long Contemporary
Within This Circle (Deborah Raney) – Steeple Hill Books, Krista Stroever
Long Historical
Veil of Fire (Marlo Schalesky) RiverOak, editors Jeff Dunn/Jon Woodhams
Where Willows Grow (Kim Vogel Sawyer) Bethany House, editor Charlene Patterson
Mystery
Your Chariot Awaits (Lorena McCourtney) – Thomas Nelson, Amanda Bostic
Short Contemporary
The Heart of Grace (Linda Goodnight) – Steeple Hill Love Inspired, Allison Lyons
Short Contemporary Suspense
Caught Redhanded (Gayle Roper) – Steeple Hill Love Inspired Suspense, Krista Stroever
Short Historical
Canteen Dreams (Cara Putman) & Golden Days (Mary Connealy)
–Barbour/Heartsong Presents, JoAnne Simmons
Speculative
The Restorer’s Son (Sharon Hinck) – NavPress, Reagan Reed
Suspense
Black Ice (Linda Hall) – WaterBrook Press, Traci DePree
Women’s Fiction
Remember to Forget (Deborah Raney) – Howard Books/Simon & Schuster, Philis Boultinghouse
Young Adult
In Between (Jenny B. Jones) — NavPress, Jamie Chavez
Showing posts with label Writer's Conference. Show all posts
Showing posts with label Writer's Conference. Show all posts
4.03.2008
Interview with Andy Meisenheimer
Writer’s conferences have long been the safe watering hole, that land where the unpublished gazelle can stride with semi-confidence beside the best-selling tiger. From chart-topping authors to power-house agents, the opportunity to brush shoulders with the literary elite is well worth the price of admission. Seminars on query letters and killer proposals offer necessary wisdom for those who want to get ahead of the pack.
And fortunately—for the brave—there is another opportunity that lurks in the Serengeti shadows.
Somewhere among these publishing professionals there strides the mighty lion: the ever-elusive, the ever-popular acquisitions editor. While it may seem hard to believe at first glance, he (or she) is almost always nice. Here, in his natural habitat surrounded by other writers and editors, he rarely bites at all. That is, unless you’re trying to steal that seared ahi tuna off his plate . . .
All wildlife metaphors aside, I met Andy Meisenheimer—fiction acquisitions editor for Zondervan by day, proud husband and father and talented musician by night—at the 2007 Mount Hermon Writer’s Conference. And I have to say, this editor really is one nice guy.
He has a vision for fiction that led him to acquire such books as My Name is Russell Fink by Michael Snyder and The Almost True Story of Ryan Fisher by Rob Stennett (due out in June, 2008).
If you ever want to know what is up and coming on his growing list of fiction, just check out his blog: These Are Books. Or you could check out one of his guest posts at literary agent, Chip MacGregor’s blog.
Or you could check out the upcoming OCCWF writer’s conference on April 12 (Sorry. Shameless, but necessary promotional plug.)
I had the opportunity to interview Andy recently. Like every other writer on the planet, I was curious to know his opinion on a number of subjects. So, with no more cyber-babble from me, here are his answers.
MERRIE: If a book could be published by either a Christian publisher or a secular publisher, what recommendations would you make to the writer?
ANDY: Take into account all factors, not just Christian v. ‘generic’. Did you find the right editor for the book? Will the company give the book the support it needs? Will it be able to market the book effectively? Will it be able to reach the primary consumer? Right now, Christian publishers are strong in selling to CBA channels and growing in their ability to market ABA channels effectively. And there’s a better chance they’ll believe in your book by sharing in the spirituality. But if you’re blessed enough to be choosing between the two, then I don’t believe the “Christian v. secular” is the most important factor.
MERRIE: Those are all important questions to remember. [Wait, I need to write this stuff down.] Okay, next question: What are some classic books that you would recommend to aspiring writers?
ANDY: Characters and Viewpoint, Orson Scott Card
Novelist’s Essential Guide to Crafting Scenes, Raymond Obstfeld
On Directing Film, David Mamet
Those are mostly for novelists and narrative nonfiction writers. For general nonfiction, nothing more than Strunk and White is necessary.
MERRIE: [Now I need to go buy a couple of books. But I like books, so that's cool.] So, what one piece of advice would you give to writers who want to submit their manuscripts to Zondervan?
ANDY: Look at your proposal as a story. Make sure that every part of it reflects you as a writer. If your synopsis doesn’t reflect capable craftsmanship and storytelling ability, then why should anyone believe that your manuscript will?
MERRIE: That's an interesting answer. [Perhaps synopsis writing is an artform. Perhaps I should learn this artform . . .] Is there a common element or mistake you see in manuscripts that you reject?
ANDY: One thing I see in the sample writing is a lack of narrative maturity, especially in certain genres. When I’m reading something that’s not supposed to be a contemporary inspirational novel that ends up sounding like a contemporary inspirational novel, I know that I’m not dealing with something that can transcend the Christian fiction subculture. It’s especially apparent in espionage thrillers, speculative fiction, and the genre no one will call “horror” but that’s what it is.
MERRIE: [Now I'm wondering if my contemporary inspirational novel about two aliens who try kidnap the U.S. president is slightly off target. Arrgghh.] Ahem. Mr. Meisenheimer, thank you so very much for joining us here in the wilderness of Alien Dream! I really appreciate your time and I hope you enjoy your trip to sunny California.
ANDY: Thanks for having me!
STAY TUNED, ALIEN DREAM READERS. WE’LL HAVE MORE INTERVIEWS WITH OCCWF FACULTY NEXT WEEK! SAME BAT CHANNEL, SAME BAT TIME.
And don’t forget, there are still openings available to attend the OCCWF conference. Visit their site at http://www.occwf.org/ for more information.
And fortunately—for the brave—there is another opportunity that lurks in the Serengeti shadows.
Somewhere among these publishing professionals there strides the mighty lion: the ever-elusive, the ever-popular acquisitions editor. While it may seem hard to believe at first glance, he (or she) is almost always nice. Here, in his natural habitat surrounded by other writers and editors, he rarely bites at all. That is, unless you’re trying to steal that seared ahi tuna off his plate . . .
All wildlife metaphors aside, I met Andy Meisenheimer—fiction acquisitions editor for Zondervan by day, proud husband and father and talented musician by night—at the 2007 Mount Hermon Writer’s Conference. And I have to say, this editor really is one nice guy.
He has a vision for fiction that led him to acquire such books as My Name is Russell Fink by Michael Snyder and The Almost True Story of Ryan Fisher by Rob Stennett (due out in June, 2008).
If you ever want to know what is up and coming on his growing list of fiction, just check out his blog: These Are Books. Or you could check out one of his guest posts at literary agent, Chip MacGregor’s blog.
Or you could check out the upcoming OCCWF writer’s conference on April 12 (Sorry. Shameless, but necessary promotional plug.)
I had the opportunity to interview Andy recently. Like every other writer on the planet, I was curious to know his opinion on a number of subjects. So, with no more cyber-babble from me, here are his answers.
MERRIE: If a book could be published by either a Christian publisher or a secular publisher, what recommendations would you make to the writer?
ANDY: Take into account all factors, not just Christian v. ‘generic’. Did you find the right editor for the book? Will the company give the book the support it needs? Will it be able to market the book effectively? Will it be able to reach the primary consumer? Right now, Christian publishers are strong in selling to CBA channels and growing in their ability to market ABA channels effectively. And there’s a better chance they’ll believe in your book by sharing in the spirituality. But if you’re blessed enough to be choosing between the two, then I don’t believe the “Christian v. secular” is the most important factor.
MERRIE: Those are all important questions to remember. [Wait, I need to write this stuff down.] Okay, next question: What are some classic books that you would recommend to aspiring writers?
ANDY: Characters and Viewpoint, Orson Scott Card
Novelist’s Essential Guide to Crafting Scenes, Raymond Obstfeld
On Directing Film, David Mamet
Those are mostly for novelists and narrative nonfiction writers. For general nonfiction, nothing more than Strunk and White is necessary.
MERRIE: [Now I need to go buy a couple of books. But I like books, so that's cool.] So, what one piece of advice would you give to writers who want to submit their manuscripts to Zondervan?
ANDY: Look at your proposal as a story. Make sure that every part of it reflects you as a writer. If your synopsis doesn’t reflect capable craftsmanship and storytelling ability, then why should anyone believe that your manuscript will?
MERRIE: That's an interesting answer. [Perhaps synopsis writing is an artform. Perhaps I should learn this artform . . .] Is there a common element or mistake you see in manuscripts that you reject?
ANDY: One thing I see in the sample writing is a lack of narrative maturity, especially in certain genres. When I’m reading something that’s not supposed to be a contemporary inspirational novel that ends up sounding like a contemporary inspirational novel, I know that I’m not dealing with something that can transcend the Christian fiction subculture. It’s especially apparent in espionage thrillers, speculative fiction, and the genre no one will call “horror” but that’s what it is.
MERRIE: [Now I'm wondering if my contemporary inspirational novel about two aliens who try kidnap the U.S. president is slightly off target. Arrgghh.] Ahem. Mr. Meisenheimer, thank you so very much for joining us here in the wilderness of Alien Dream! I really appreciate your time and I hope you enjoy your trip to sunny California.
ANDY: Thanks for having me!
STAY TUNED, ALIEN DREAM READERS. WE’LL HAVE MORE INTERVIEWS WITH OCCWF FACULTY NEXT WEEK! SAME BAT CHANNEL, SAME BAT TIME.
And don’t forget, there are still openings available to attend the OCCWF conference. Visit their site at http://www.occwf.org/ for more information.
4.01.2008
Part Two: Interview with Beverly Lewis
Today we are fortunate enough to have best-selling author, Beverly Lewis, back in the Alien Dream studio. She’s going to be discussing some awesome subjects today: among them, her opinion on the old plot-versus-protagonist debate and advice for beginning writers.
MERRIE: When writing your books, which comes first the plot or the character? Is one more important to you than another, and if so, why?
BEVERLY: Always the protagonist. The day I “hear” a new character’s voice, I know it’s time to start taking notes, paying attention. This typically comes midway through the writing of the third book in a contracted trilogy—I know who the new character is vying for attention in the next series.
MERRIE: I have to say that I absolutely agree. I’ve been struggling with my next book idea and just heard my main character’s voice last night. He wasn’t anything like I expected, in fact for weeks I thought he was supposed to be a girl! Is there one tip you would give to a beginning writer?
BEVERLY: Write what you love to read.
MERRIE: Great answer. Passion brings inspiration. Was there ever a time when you almost quit writing? If so, can you tell us about it and why you decided not to stop?
BEVERLY: I’ve never known typical writer’s block. I’ve had weeks when there were seemingly not enough hours in the day to accomplish what I wanted to finish writing, though. And I did take a self-imposed six-month break when my mother died, nearly two years ago. It just knocked me out—I didn’t expect to feel so wiped out, knowing how she longed to be with Jesus, having suffered for so many years. I thought I’d be happy about her eventual passing, but, oh did I ever miss her. And still do.
MERRIE: I’m so sorry to hear about your mother’s death, Bev. But thank you for being honest about what was obviously a difficult time. I’m one of those people who think it’s important to take a break from writing, from time to time, to regenerate. I understand that you’re going to be teaching at the upcoming OCCWF conference on April 12. Can you tell us a few things you hope to discuss in your seminar?
BEVERLY: The co-producer of the movie, “Saving Sarah Cain,” based on my very popular novel, The Redemption of Sarah Cain, and I, will be discussing the journey from fiction to film in a joint workshop. Can’t wait! I’ll also be presenting key points in my keynote speech, to help writers find their way to publication, using the “Simple Gifts,” the success secrets that seem to be lost to so many.
MERRIE: That sounds like a fantastic workshop. (I hope they have a lot of chairs in that room!) And your keynote speech sounds inspirational. I’m sure everyone will enjoy that, too. Can you tell us when your new book, The Forbidden, will be available?
BEVERLY: It’s being shipped this week, I believe.
MERRIE: For all of our Alien Dream readers, I just checked Amazon and found out that you can pre-order a copy of The Forbidden at this link.
MERRIE: Beverly, thank you again for allowing me to interview you. I really appreciate it! Is there anything else that you would like to say?
BEVERLY: I’m every excited to meet writers in Orange County and to encourage them in their passion and calling. It’s also kinda brown right now in Colorado, so I’ll be ready for some warm temps and…lush, tropical greenery. Thanks, Merrie…such fun! I’ll look forward to seeing you soon!
MERRIE: Well, we'll all be looking forward to meeting you too, Beverly!
To all my Alien Dream readers, don’t forget, there are still openings available to attend the OCCWF conference. Visit their site at OCCWF for more information.
MERRIE: When writing your books, which comes first the plot or the character? Is one more important to you than another, and if so, why?
BEVERLY: Always the protagonist. The day I “hear” a new character’s voice, I know it’s time to start taking notes, paying attention. This typically comes midway through the writing of the third book in a contracted trilogy—I know who the new character is vying for attention in the next series.
MERRIE: I have to say that I absolutely agree. I’ve been struggling with my next book idea and just heard my main character’s voice last night. He wasn’t anything like I expected, in fact for weeks I thought he was supposed to be a girl! Is there one tip you would give to a beginning writer?
BEVERLY: Write what you love to read.
MERRIE: Great answer. Passion brings inspiration. Was there ever a time when you almost quit writing? If so, can you tell us about it and why you decided not to stop?
BEVERLY: I’ve never known typical writer’s block. I’ve had weeks when there were seemingly not enough hours in the day to accomplish what I wanted to finish writing, though. And I did take a self-imposed six-month break when my mother died, nearly two years ago. It just knocked me out—I didn’t expect to feel so wiped out, knowing how she longed to be with Jesus, having suffered for so many years. I thought I’d be happy about her eventual passing, but, oh did I ever miss her. And still do.
MERRIE: I’m so sorry to hear about your mother’s death, Bev. But thank you for being honest about what was obviously a difficult time. I’m one of those people who think it’s important to take a break from writing, from time to time, to regenerate. I understand that you’re going to be teaching at the upcoming OCCWF conference on April 12. Can you tell us a few things you hope to discuss in your seminar?
BEVERLY: The co-producer of the movie, “Saving Sarah Cain,” based on my very popular novel, The Redemption of Sarah Cain, and I, will be discussing the journey from fiction to film in a joint workshop. Can’t wait! I’ll also be presenting key points in my keynote speech, to help writers find their way to publication, using the “Simple Gifts,” the success secrets that seem to be lost to so many.
MERRIE: That sounds like a fantastic workshop. (I hope they have a lot of chairs in that room!) And your keynote speech sounds inspirational. I’m sure everyone will enjoy that, too. Can you tell us when your new book, The Forbidden, will be available?
BEVERLY: It’s being shipped this week, I believe.
MERRIE: For all of our Alien Dream readers, I just checked Amazon and found out that you can pre-order a copy of The Forbidden at this link.
MERRIE: Beverly, thank you again for allowing me to interview you. I really appreciate it! Is there anything else that you would like to say?
BEVERLY: I’m every excited to meet writers in Orange County and to encourage them in their passion and calling. It’s also kinda brown right now in Colorado, so I’ll be ready for some warm temps and…lush, tropical greenery. Thanks, Merrie…such fun! I’ll look forward to seeing you soon!
MERRIE: Well, we'll all be looking forward to meeting you too, Beverly!
To all my Alien Dream readers, don’t forget, there are still openings available to attend the OCCWF conference. Visit their site at OCCWF for more information.
3.30.2008
Interview with Beverly Lewis
Today we're continuing our series of interviews with the faculty members who will attend the upcoming OCCWF writer's conference.
Those of you who attend the conference on April 12 will have the opportunity to meet Beverly Lewis, a New York Times best-selling author and winner of the Christy and numerous other awards. Her books have sold more than 10 million copies.
I'm sure Beverly's many faithful readers will be delighted that we have an interview with her today.
MERRIE: Thank you for joining us here at Alien Dream, Beverly. Can you tell us all a little bit about your new novel, The Forbidden?
BEVERLY: It’s the continuation of “The Courtship of Nellie Fisher” triology, set during the spiritual upheaval of fall/winter 1966 in Pennsylvania Amish Country, when courting couples and close-knit families were torn apart in the rift between the Older Order Amish church and two schisms—one being the New Order Amish, which embraced the assurance of salvation, tractors, and telephones; and the Beachy Amish which allowed electricity, cars, and other modern conveniences. Some of the most fascinating research I’ve ever done for a series.
MERRIE: It sounds like a great book! I've noticed that many of your books deal with the Amish lifestyle, a life quite different from the one most of us live today. Your website says that you receive thousands of heartwarming letters from readers each year. Do you think that there is something missing in our modern lives that these books provide, and if so, what do you think it is?
BEVERLY: Not only are important aspects missing from our modern living—one instance: how society views the Gold Rule, or lack thereof—but the more technologically savvy we become, the more we crave simplicity, tranquility, and even a sense of order. My readers also write to say they connect intimately with my writing style and enjoy the layers of meaning found in my novels. Like reading a nonfiction novel evidently. And since I adore research and used to write on assignment for nonfiction periodicals, this type of novel asnwers part of my own passion, as well.
MERRIE: I like the fact that you are providing readers with something "missing." I think that's a great way for writers to approach their subject matter. I noticed the term “Plain heritage” on your site. Could you describe what that means?
BEVERLY: “Team Mennonite” is my Plain ancestry, which simply means there are Old Order Mennonites in my family who still drive around with horse and buggy, grow untrimmed beards, and all sorts of other interesting and exotic stuff.
MERRIE: That is really interesting. How do you get the ideas for your books?
BEVERLY: I have a vivid memory, as well as a keen imagination. Having grown up right across from Amish farmland, I have more storylines and ideas than I’ll ever live to write. My father, a minister, had many preacher friends among the Amish, so there are lots of stories simmering in my head from having sat at the long, trestle tables in Amish kitchens as a girl. (One Amish preacher’s wife told my young mother—“The more children I have, the less work I have to do…especially if they’re girls!” She said this with a twinkle in her eyes, while six of her daughters “stirred up dinner” and got it out on the table in nothing flat. I, along with my mom, was quite amazed. It was like an assembly line happening before our eyes, with no one telling anyone what to do. They all just knew.)
MERRIE: Beverly, thank you so much for visiting us here at Alien Dream, and for answering our questions today!
STAY TUNED, ALIEN DREAM READERS. ON TUESDAY WE'LL CONTINUE OUR INTERVIEW WITH BEST-SELLING AUTHOR, BEVERLY LEWIS! SAME BAT CHANNEL, SAME BAT TIME.
And don’t forget, there are still openings available to attend the OCCWF conference. Visit their site at http://www.occwf.org/ for more information.
Those of you who attend the conference on April 12 will have the opportunity to meet Beverly Lewis, a New York Times best-selling author and winner of the Christy and numerous other awards. Her books have sold more than 10 million copies.
I'm sure Beverly's many faithful readers will be delighted that we have an interview with her today.
MERRIE: Thank you for joining us here at Alien Dream, Beverly. Can you tell us all a little bit about your new novel, The Forbidden?
BEVERLY: It’s the continuation of “The Courtship of Nellie Fisher” triology, set during the spiritual upheaval of fall/winter 1966 in Pennsylvania Amish Country, when courting couples and close-knit families were torn apart in the rift between the Older Order Amish church and two schisms—one being the New Order Amish, which embraced the assurance of salvation, tractors, and telephones; and the Beachy Amish which allowed electricity, cars, and other modern conveniences. Some of the most fascinating research I’ve ever done for a series.
MERRIE: It sounds like a great book! I've noticed that many of your books deal with the Amish lifestyle, a life quite different from the one most of us live today. Your website says that you receive thousands of heartwarming letters from readers each year. Do you think that there is something missing in our modern lives that these books provide, and if so, what do you think it is?
BEVERLY: Not only are important aspects missing from our modern living—one instance: how society views the Gold Rule, or lack thereof—but the more technologically savvy we become, the more we crave simplicity, tranquility, and even a sense of order. My readers also write to say they connect intimately with my writing style and enjoy the layers of meaning found in my novels. Like reading a nonfiction novel evidently. And since I adore research and used to write on assignment for nonfiction periodicals, this type of novel asnwers part of my own passion, as well.
MERRIE: I like the fact that you are providing readers with something "missing." I think that's a great way for writers to approach their subject matter. I noticed the term “Plain heritage” on your site. Could you describe what that means?
BEVERLY: “Team Mennonite” is my Plain ancestry, which simply means there are Old Order Mennonites in my family who still drive around with horse and buggy, grow untrimmed beards, and all sorts of other interesting and exotic stuff.
MERRIE: That is really interesting. How do you get the ideas for your books?
BEVERLY: I have a vivid memory, as well as a keen imagination. Having grown up right across from Amish farmland, I have more storylines and ideas than I’ll ever live to write. My father, a minister, had many preacher friends among the Amish, so there are lots of stories simmering in my head from having sat at the long, trestle tables in Amish kitchens as a girl. (One Amish preacher’s wife told my young mother—“The more children I have, the less work I have to do…especially if they’re girls!” She said this with a twinkle in her eyes, while six of her daughters “stirred up dinner” and got it out on the table in nothing flat. I, along with my mom, was quite amazed. It was like an assembly line happening before our eyes, with no one telling anyone what to do. They all just knew.)
MERRIE: Beverly, thank you so much for visiting us here at Alien Dream, and for answering our questions today!
STAY TUNED, ALIEN DREAM READERS. ON TUESDAY WE'LL CONTINUE OUR INTERVIEW WITH BEST-SELLING AUTHOR, BEVERLY LEWIS! SAME BAT CHANNEL, SAME BAT TIME.
And don’t forget, there are still openings available to attend the OCCWF conference. Visit their site at http://www.occwf.org/ for more information.
3.26.2008
Surviving Writer's Block
Today we'll be concluding our series of interviews with Brian Bird, Hollywood writer/producer who has, among other things, worked on such series as Touched By An Angel, Step By Step and The Family Man. Brian is going to discuss weighty issues as writer's block and the old character versus plot debate.
MERRIE: Brian, here is a subject that I think every writer, beginning or advanced has struggled with. Should we keep writing and, if so, why? So my question for you is, was there ever a time when you almost quit writing? If so, can you tell us about it and why you decided not to stop?
BRIAN: Late one night, I was in the middle of a script for Touched By An Angel and I was completely lost. I was on deadline, which means it had to be turned in the next morning, and by the way, there is no such thing as “writer’s block” allowed in the world of television. If you don’t deliver, you’re fired. Anyway, I had written myself figuratively into a tributary of the Amazon River and couldn’t find my way back to the main story channel. So I just reached out to God. Actually, it was more than reaching, it was pleading. I began to play all the negative self-talk tapes that we all have… “you are a horrible writer”… “you’re a fraud”… “how did you trick people into thinking you could do this”… etc. I just asked God to rescue me, and the writer in me would like to tell you that words began magically appearing on my computer screen, but that would be fiction. What is true is that I received a very deep impression on my soul. And here is what I heard: “I was a writer, now you be one.” I got chills up and down my spine. I didn’t exactly know what to make of that, but then scripture verses started coming to mind… “God is the author of the universe”…. “Jesus is the author and perfecter of our faith”… “in the beginning was the Word.” And it then occurred to me: How did God choose to leave his revelation to us? In a NOVEL. A big, long narrative of history… HIS STORY. And that I was created in the image of the author of the universe, and if that’s true, what a privilege it is for me to carry that creative torch, even in my small human way. And I began typing. And somehow I made it through that long night and turned in a draft of the script that was actually pretty good. And since then, I have not allowed myself the excuse of having “writer’s block.” That’s not to say it’s not always hard work, but I choose to power through it. That’s not to say that whatever flows from the fingertips is all golden. It’s not. But I don’t censor or second guess myself anymore. I go with what seems right, and thankfully, it mostly is.
MERRIE: I don't know about the other writers out there, but I know that I've hit that wall more than once. I love the fact that scripture gave you the courage and the inspiration to finish your script. One more reason why we should spend time memorizing and meditating on God's Word. Here's another question for you: When writing your scripts, which comes first the plot or the character? Is one more important to you than another, and if so, why?
BRIAN: The answer to this age-old question is… YES. In all fiction, whether it be in film or novels, the goal of the author is make his or her audience fall in love with his characters. If you can do that in the first act of a screenplay (or the first several chapters of a novel), the audience will take the journey with you. If you don’t create compelling characters your audience can fall in love with, the party is over before it begins. You may coast your way through the story with cardboard characters, but the audience is probably going to root for you to kill them off before you get to the end of the quest. So the answer to the chicken-and-egg question in storytelling is that good characters create their own plot turns, because the plot turns have everything to do with the journey your characters are on. The only world in which explosions and girls in bikinis serve as good plot turns is in the world of really bad writing. If you need a plot turn in your story, ask your protagonist where he is on his journey, and the plot turn will come to you both.
MERRIE: I absolutely agree. If you don't have good characters, there's no reason to care about the story. I hear that you're going to be teaching at the upcoming OCCWF conference. Can you tell us a few things you hope to discuss in your seminar?
BRIAN: We’re going to discuss the intersection of novels and film and tips for turning books into screenplays. And given my experience of having adapted so many books over the years, I have a feeling that I’m going to be answering a lot of questions from authors who think I’ve destroyed a lot of great books.
MERRIE: Brian,thank you so much for allowing me to interview you! Is there anything else that you would like to say?
BRIAN: God was and is a writer… now you be one.
STAY TUNED, ALIEN DREAM READERS. ON MONDAY WE'LL HAVE AN INTERVIEW WITH BEST-SELLING AUTHOR, BEVERLY LEWIS! SAME BAT CHANNEL, SAME BAT TIME.
And don’t forget, there are still openings available to attend the OCCWF conference. Visit their site at http://www.occwf.org/ for more information.
MERRIE: Brian, here is a subject that I think every writer, beginning or advanced has struggled with. Should we keep writing and, if so, why? So my question for you is, was there ever a time when you almost quit writing? If so, can you tell us about it and why you decided not to stop?
BRIAN: Late one night, I was in the middle of a script for Touched By An Angel and I was completely lost. I was on deadline, which means it had to be turned in the next morning, and by the way, there is no such thing as “writer’s block” allowed in the world of television. If you don’t deliver, you’re fired. Anyway, I had written myself figuratively into a tributary of the Amazon River and couldn’t find my way back to the main story channel. So I just reached out to God. Actually, it was more than reaching, it was pleading. I began to play all the negative self-talk tapes that we all have… “you are a horrible writer”… “you’re a fraud”… “how did you trick people into thinking you could do this”… etc. I just asked God to rescue me, and the writer in me would like to tell you that words began magically appearing on my computer screen, but that would be fiction. What is true is that I received a very deep impression on my soul. And here is what I heard: “I was a writer, now you be one.” I got chills up and down my spine. I didn’t exactly know what to make of that, but then scripture verses started coming to mind… “God is the author of the universe”…. “Jesus is the author and perfecter of our faith”… “in the beginning was the Word.” And it then occurred to me: How did God choose to leave his revelation to us? In a NOVEL. A big, long narrative of history… HIS STORY. And that I was created in the image of the author of the universe, and if that’s true, what a privilege it is for me to carry that creative torch, even in my small human way. And I began typing. And somehow I made it through that long night and turned in a draft of the script that was actually pretty good. And since then, I have not allowed myself the excuse of having “writer’s block.” That’s not to say it’s not always hard work, but I choose to power through it. That’s not to say that whatever flows from the fingertips is all golden. It’s not. But I don’t censor or second guess myself anymore. I go with what seems right, and thankfully, it mostly is.
MERRIE: I don't know about the other writers out there, but I know that I've hit that wall more than once. I love the fact that scripture gave you the courage and the inspiration to finish your script. One more reason why we should spend time memorizing and meditating on God's Word. Here's another question for you: When writing your scripts, which comes first the plot or the character? Is one more important to you than another, and if so, why?
BRIAN: The answer to this age-old question is… YES. In all fiction, whether it be in film or novels, the goal of the author is make his or her audience fall in love with his characters. If you can do that in the first act of a screenplay (or the first several chapters of a novel), the audience will take the journey with you. If you don’t create compelling characters your audience can fall in love with, the party is over before it begins. You may coast your way through the story with cardboard characters, but the audience is probably going to root for you to kill them off before you get to the end of the quest. So the answer to the chicken-and-egg question in storytelling is that good characters create their own plot turns, because the plot turns have everything to do with the journey your characters are on. The only world in which explosions and girls in bikinis serve as good plot turns is in the world of really bad writing. If you need a plot turn in your story, ask your protagonist where he is on his journey, and the plot turn will come to you both.
MERRIE: I absolutely agree. If you don't have good characters, there's no reason to care about the story. I hear that you're going to be teaching at the upcoming OCCWF conference. Can you tell us a few things you hope to discuss in your seminar?
BRIAN: We’re going to discuss the intersection of novels and film and tips for turning books into screenplays. And given my experience of having adapted so many books over the years, I have a feeling that I’m going to be answering a lot of questions from authors who think I’ve destroyed a lot of great books.
MERRIE: Brian,thank you so much for allowing me to interview you! Is there anything else that you would like to say?
BRIAN: God was and is a writer… now you be one.
STAY TUNED, ALIEN DREAM READERS. ON MONDAY WE'LL HAVE AN INTERVIEW WITH BEST-SELLING AUTHOR, BEVERLY LEWIS! SAME BAT CHANNEL, SAME BAT TIME.
And don’t forget, there are still openings available to attend the OCCWF conference. Visit their site at http://www.occwf.org/ for more information.
3.25.2008
Writing for Television
Today we are continuing our interview with Brian Bird, a Hollywood writer/producer who has written and/or produced more than 250 episodes of network television, working on such series as Touched By An Angel, Step By Step and The Family Man. On top of this, he has adapted a dozen novels for film and television.
If you’re joining us for the first time, be sure to check out yesterday’s post.
Today we're going to discuss writing for television and Brian's upcoming movie, Jake's Run.
MERRIE: What’s the best way to pitch an idea for a television series, and is it true that television is only open to new writers if they are young? This is something I’ve heard from people who work in television.
BRIAN: I hate to be the bearer of bad news, but for the mainstream network and cable business, there is really no good way for a newcomer to break into the world of creating series for television, no matter what your age. It is very much a closed club at that level, reserved for writer-producers who have risen through the ranks on hit television shows. Most of the series that are created each year come from established veterans with strong existing relationships with the buyers at the studios and networks. For instance, in my nearly 25 years writing and producing in Hollywood, I have sold three television pilots, one to ABC, one to NBC and one to Showtime. But none of those series ever made it past the pilot stage. But new writers can break into the television business as I did by forging opportunities for themselves as staff writers on shows, and therein, someday perhaps having the opportunity to pitch and sell their own series. It is incredibly competitive, but not impossible to break in. But a new writer would be better off spending his or her energy on writing good spec scripts of existing shows in order to show what they can do. It is also true that there is rampant ageism in Hollywood . The buyers at the networks are all very young, and there is a bias toward younger writers because the networks believe they can relate more to younger audiences – which is the goal of the advertisers. I still stubbornly hold onto the ideal that a good writer is a good writer, and that a good writer can write anything and make his work relatable to any age group. I’ve yet to be proven wrong in that, but you definitely have to get past a lot of biases built into the business.
MERRIE: Thanks for those tips, Brian. It's good to know that although it is incredibly difficult, it is possible to break into television. Can you tell me a little bit about your upcoming movie, Jake’s Run?
BRIAN: Jake’s Run is based on a true story that occurred in Southern Ohio in 2002. Jake Porter, a boy with Fragile X chromosomal syndrome and an IQ of 65, earned a place on his high school football team and in his last game as a senior scored a touchdown as time ran out on the clock. It was an electrifying event that caught the world’s attention and resulted in Jake being presented with and EPSY award on national television for the most inspirational sports moment of the year. Our film starts back at the beginning of that the football season and charts Jake’s journey in his small town as his mother and coach battle for his right to be on the team, and culminates with him getting in the game and scoring the TD. If I could put it in “high-concept” terms, I would say that it is “Rudy meets Rainman.”
MERRIE: I have a feeling this movie is going to be a hit! When will it be released?
BRIAN: We are hoping to go into production on the film May 12, and right now plans call for it to be released by Fox in January of 2009.
MERRIE: Brian, thanks for visiting us here at Alien Dream again.
STAY TUNED, ALIEN DREAM READERS. WE'LL HAVE THE FINAL INTERVIEW WITH BRIAN TOMORROW! SAME BAT CHANNEL, SAME BAT TIME.
And don’t forget, there are still openings available to attend the OCCWF conference. Visit their site at http://www.occwf.org/ for more information.
If you’re joining us for the first time, be sure to check out yesterday’s post.
Today we're going to discuss writing for television and Brian's upcoming movie, Jake's Run.
MERRIE: What’s the best way to pitch an idea for a television series, and is it true that television is only open to new writers if they are young? This is something I’ve heard from people who work in television.
BRIAN: I hate to be the bearer of bad news, but for the mainstream network and cable business, there is really no good way for a newcomer to break into the world of creating series for television, no matter what your age. It is very much a closed club at that level, reserved for writer-producers who have risen through the ranks on hit television shows. Most of the series that are created each year come from established veterans with strong existing relationships with the buyers at the studios and networks. For instance, in my nearly 25 years writing and producing in Hollywood, I have sold three television pilots, one to ABC, one to NBC and one to Showtime. But none of those series ever made it past the pilot stage. But new writers can break into the television business as I did by forging opportunities for themselves as staff writers on shows, and therein, someday perhaps having the opportunity to pitch and sell their own series. It is incredibly competitive, but not impossible to break in. But a new writer would be better off spending his or her energy on writing good spec scripts of existing shows in order to show what they can do. It is also true that there is rampant ageism in Hollywood . The buyers at the networks are all very young, and there is a bias toward younger writers because the networks believe they can relate more to younger audiences – which is the goal of the advertisers. I still stubbornly hold onto the ideal that a good writer is a good writer, and that a good writer can write anything and make his work relatable to any age group. I’ve yet to be proven wrong in that, but you definitely have to get past a lot of biases built into the business.
MERRIE: Thanks for those tips, Brian. It's good to know that although it is incredibly difficult, it is possible to break into television. Can you tell me a little bit about your upcoming movie, Jake’s Run?
BRIAN: Jake’s Run is based on a true story that occurred in Southern Ohio in 2002. Jake Porter, a boy with Fragile X chromosomal syndrome and an IQ of 65, earned a place on his high school football team and in his last game as a senior scored a touchdown as time ran out on the clock. It was an electrifying event that caught the world’s attention and resulted in Jake being presented with and EPSY award on national television for the most inspirational sports moment of the year. Our film starts back at the beginning of that the football season and charts Jake’s journey in his small town as his mother and coach battle for his right to be on the team, and culminates with him getting in the game and scoring the TD. If I could put it in “high-concept” terms, I would say that it is “Rudy meets Rainman.”
MERRIE: I have a feeling this movie is going to be a hit! When will it be released?
BRIAN: We are hoping to go into production on the film May 12, and right now plans call for it to be released by Fox in January of 2009.
MERRIE: Brian, thanks for visiting us here at Alien Dream again.
STAY TUNED, ALIEN DREAM READERS. WE'LL HAVE THE FINAL INTERVIEW WITH BRIAN TOMORROW! SAME BAT CHANNEL, SAME BAT TIME.
And don’t forget, there are still openings available to attend the OCCWF conference. Visit their site at http://www.occwf.org/ for more information.
Do You Want to be a Screenwriter?
We’re back in the Alien Dream studio for the second part of our interview with Brian Bird, a highly successful Hollywood writer/producer with an impressive list of film credits that include Saving Sarah Cain, The Last Sin Eater and Jake’s Run. If you’re joining us for the first time, be sure to check out yesterday’s post.
Today, among other things, Brian is going to discuss that ever-tricky plot hook called “high concept,” something that’s important in both movies and novels.
MERRIE: Brian, in your opinion, what is the main difference between writing a novel and writing a screenplay?
BRIAN: The biggest difference in screenplays is that the audience cannot take an omniscient point of view. Unless you have an omniscient narrator whose voice-overs become your tour guide through a film (and this is incredibly difficult to do well), screenwriters have to rely on dialogue and action to carry the story forward. Novels are often very “internal” because the author has the ability to read the minds and hearts of all his characters from God’s point of view without the characters actually having to say anything. In film, the audience has to rely on dialogue and action and “backstory” as revealed creatively through conversations and planted “oracles” in a story. For instance, one character reading a newspaper account of another character and learning something revealing about his/her past. Films, and by extension, screenplays have to be a visual medium. We have to “show” the audience the story rather “tell” it. Screenwriters can also not “cheat” in a screenplay as novelists can do in a novel. A novelist can describe a character as a “lying, cussing, brute of a man,” and not actually have to write any cursing in the dialogue. How is a screenwriter supposed to accomplish that same thing? We have to show it, not just describe it.
MERRIE: Great answer! You just demonstrated several ways screenplays are different from novels. Now, here's a question I struggle with on a daily basis. What is "high concept" and why is it so important in the movie industry?
BRIAN: The term “high concept” refers to a simple, but provocative plot hook which drives a story. High concept films are stories which revolve around big plot devices that are easily described in a sentence. For instance, Indiana Jones can easily be boiled down to: “Treasure hunter races Nazis to find the Holy of Holies.” Die Hard could be described as “The Alamo in a big-city skyscraper.” Under Siege could be described as “Die Hard on a battleship.” Jaws is “Moby Dick with a great-white shark.” Alien is “Jaws in outer space.” The Matrix is “Plato’s Cave with computers.” But high concept stories are not just for Hollywood filmmakers. Many high-concept films come from high-concept novels. For instance, Jurassic Park, from Michael Crichton, a.k.a. “ Disneyland with real dinosaurs.”
MERRIE: What advice would you give to someone who would like to option their novel as a movie? Should they adapt it to a screenplay first?
BRIAN: For authors with a large fan-base—such as Beverly Lewis, Janette Oke and Francine Rivers with whom we’ve been privileged to work—I think the best bet is to reach out to writer-producers in Hollywood who have a track record of making like-minded films. Because of that built-in audience, it’s much easier for those producers to find the money and distribution to get those films made. For authors with smaller audiences, or perhaps loyal niche audiences, it might be advisable to adapt their novels into screenplays themselves. The upside of this is that the screenplay becomes a brand new pieces of creative “real estate” if it works creatively. The downside is the time spent doing that adaptation and the self-training one must do in order to do it effectively. But one warning to novelists who adapt their own books for the screen: a film is not a novel. It’s a completely different creative work. You have to be willing to be brutal on yourself in order to boil down a 300-page “internal” novel into a 120-page “show and tell” screenplay. The challenge is not in knowing what to keep in the screenplay from the novel. The challenge is in knowing what to leave out, and novelists have a very hard time “killing their children.”
MERRIE: Brian, thank you again for visiting Alien Dream and for answering some of the questions I know I've struggled with as a writer. I hope our readers are getting as much out of this as I am.
There is one more point I'd like to make. Brian is one of the many speakers who will attend the upcoming OCCWF writer's conference in Orange County, California. If you've ever wanted the opportunity to speak to a screenwriter, face-to-face, this is the perfect opportunity.
And fortunately, there are still openings available to attend the conference. Visit the OCCWF website at http://www.occwf.org/ for more information.
AND STAY TUNED, ALIEN DREAM READERS. WE'LL HAVE MORE TOMORROW! SAME BAT CHANNEL, SAME BAT TIME.
Today, among other things, Brian is going to discuss that ever-tricky plot hook called “high concept,” something that’s important in both movies and novels.
MERRIE: Brian, in your opinion, what is the main difference between writing a novel and writing a screenplay?
BRIAN: The biggest difference in screenplays is that the audience cannot take an omniscient point of view. Unless you have an omniscient narrator whose voice-overs become your tour guide through a film (and this is incredibly difficult to do well), screenwriters have to rely on dialogue and action to carry the story forward. Novels are often very “internal” because the author has the ability to read the minds and hearts of all his characters from God’s point of view without the characters actually having to say anything. In film, the audience has to rely on dialogue and action and “backstory” as revealed creatively through conversations and planted “oracles” in a story. For instance, one character reading a newspaper account of another character and learning something revealing about his/her past. Films, and by extension, screenplays have to be a visual medium. We have to “show” the audience the story rather “tell” it. Screenwriters can also not “cheat” in a screenplay as novelists can do in a novel. A novelist can describe a character as a “lying, cussing, brute of a man,” and not actually have to write any cursing in the dialogue. How is a screenwriter supposed to accomplish that same thing? We have to show it, not just describe it.
MERRIE: Great answer! You just demonstrated several ways screenplays are different from novels. Now, here's a question I struggle with on a daily basis. What is "high concept" and why is it so important in the movie industry?
BRIAN: The term “high concept” refers to a simple, but provocative plot hook which drives a story. High concept films are stories which revolve around big plot devices that are easily described in a sentence. For instance, Indiana Jones can easily be boiled down to: “Treasure hunter races Nazis to find the Holy of Holies.” Die Hard could be described as “The Alamo in a big-city skyscraper.” Under Siege could be described as “Die Hard on a battleship.” Jaws is “Moby Dick with a great-white shark.” Alien is “Jaws in outer space.” The Matrix is “Plato’s Cave with computers.” But high concept stories are not just for Hollywood filmmakers. Many high-concept films come from high-concept novels. For instance, Jurassic Park, from Michael Crichton, a.k.a. “ Disneyland with real dinosaurs.”
MERRIE: What advice would you give to someone who would like to option their novel as a movie? Should they adapt it to a screenplay first?
BRIAN: For authors with a large fan-base—such as Beverly Lewis, Janette Oke and Francine Rivers with whom we’ve been privileged to work—I think the best bet is to reach out to writer-producers in Hollywood who have a track record of making like-minded films. Because of that built-in audience, it’s much easier for those producers to find the money and distribution to get those films made. For authors with smaller audiences, or perhaps loyal niche audiences, it might be advisable to adapt their novels into screenplays themselves. The upside of this is that the screenplay becomes a brand new pieces of creative “real estate” if it works creatively. The downside is the time spent doing that adaptation and the self-training one must do in order to do it effectively. But one warning to novelists who adapt their own books for the screen: a film is not a novel. It’s a completely different creative work. You have to be willing to be brutal on yourself in order to boil down a 300-page “internal” novel into a 120-page “show and tell” screenplay. The challenge is not in knowing what to keep in the screenplay from the novel. The challenge is in knowing what to leave out, and novelists have a very hard time “killing their children.”
MERRIE: Brian, thank you again for visiting Alien Dream and for answering some of the questions I know I've struggled with as a writer. I hope our readers are getting as much out of this as I am.
There is one more point I'd like to make. Brian is one of the many speakers who will attend the upcoming OCCWF writer's conference in Orange County, California. If you've ever wanted the opportunity to speak to a screenwriter, face-to-face, this is the perfect opportunity.
And fortunately, there are still openings available to attend the conference. Visit the OCCWF website at http://www.occwf.org/ for more information.
AND STAY TUNED, ALIEN DREAM READERS. WE'LL HAVE MORE TOMORROW! SAME BAT CHANNEL, SAME BAT TIME.
3.24.2008
Screenwriting Tips from Brian Bird
In honor of the upcoming OCCWF Writer’s Conference [April 12 in Orange County, California], I’m going to be interviewing some of the faculty members over the next couple of weeks. These are all folks that you will get the opportunity to meet if you attend the conference.
First up, we’re going to get some screenwriting tips from Brian Bird.
Not all writing takes place between the pages of a book. Every television show, play and movie needs a script—even radio commercials rely upon scripts. While the basics of good writing still apply, screenwriting is definitely a different format and requires a unique approach.
Brian is a Hollywood writer-producer with film credits that include Saving Sarah Cain, The Last Sin Eater and Jake’s Run. He has also written and/or produced more than 250 episodes of network television, working on such series as Touched By An Angel, Step By Step and The Family Man. On top of this, he has adapted a dozen novels for film and television.
MERRIE: How did you get your start in the movie/television business?
BRIAN: I had gone to journalism school and had been working for about six years as a newspaper reporter in 1984 when my wife’s uncle, Don Ingalls, pulled me aside and suggested I try writing something for television. Don had been a long time television writer-producer dating back to the westerns of the 1950s and at that time was writing and producing the show, Fantasy Island. He liked some of my newspaper work and handed me a bunch of scripts and suggested a few books on screenwriting and said “go for it.” What I did over the next several months is read as many scripts and books as I could get my hands on and basically taught myself the format and boned up on story structure and character. I wrote what is called a “spec” (sample) episode of Fantasy Island . I turned it over to Don and he said I had a real knack for story and dialogue. He said they couldn’t use the spec episode for legal reasons, but offered me the opportunity of writing a freelance episode. They gave me a notion for a story they had been thinking about, signed me to a contract and once again told me to “go for it.” I took a few weeks of vacation and delivered a 44-page script, “Final Adieu,” and it was produced four weeks later. Don told me if Fantasy Island was picked up for an eighth season by ABC, they were going to bring me on as a story editor -- which is an entry-level staff writer. Unfortunately, the show did not come back for another season, and Don went into semi-retirement after that, so that opportunity sort of ended. Over the next few years, I figured that network writing credit might be my “one cup of coffee” in the big leagues, but my appetite for fiction had been whetted and I kept writing spec scripts. A few years later, I had landed on the writing staff of a sitcom, The Family Man, and have been making my living as a writer-producer in Hollywood ever since.
MERRIE: What advice would you give to someone who would like to sell a screenplay in Hollywood ?
BRIAN: For anyone who already has a confidence in their writing skills, my biggest suggestion is to read, read, read as many produced scripts and screenplays as you can get your hands on. Learn and be inspired. Break them down. See how the writer accomplished what they accomplished. There is this concept in the world of art which is called “Copying the Master.” The best way to describe this is to picture a painting class. The students are sitting at their canvass, and the teacher (master) is at the front of the class, doing what? Painting. And what are the students doing? They are copying the teacher. Following his form and style, but bringing themselves to the canvass in order to get better than the teacher. The take way from this for writers is that we need to copy the masters of screenwriting. It doesn’t mean literally copy them. It means learning from their craft and drawing inspiration from how they nailed their stories, and then applying that to your own work. This obviously applies to all forms of writing, whether it be screenwriting or penning novels. There are also several seminal books that every aspiring screenwriter should read. My two favorites are The Art of Dramatic Writing by Lajos Egri, and The Writer’s Journey by Christopher Vogler. Both of these books are considered bibles of the craft among professional screenwriters.
MERRIE: Brian, I love your comment about "Copying the Master." And I agree, this is a method we all should follow as we seek to perfect our art—whether that art is painting or writing. I think novelists can learn a lot by studying the well-defined three-act structure of great screenplays. Thanks for visiting Alien Dream today.
STAY TUNED, ALIEN DREAM READERS. WE'LL HAVE MORE TOMORROW! SAME BAT CHANNEL, SAME BAT TIME.
And don’t forget, there are still openings available to attend the OCCWF conference. Visit their site at http://www.occwf.org/ for more information.
First up, we’re going to get some screenwriting tips from Brian Bird.
Not all writing takes place between the pages of a book. Every television show, play and movie needs a script—even radio commercials rely upon scripts. While the basics of good writing still apply, screenwriting is definitely a different format and requires a unique approach.
Brian is a Hollywood writer-producer with film credits that include Saving Sarah Cain, The Last Sin Eater and Jake’s Run. He has also written and/or produced more than 250 episodes of network television, working on such series as Touched By An Angel, Step By Step and The Family Man. On top of this, he has adapted a dozen novels for film and television.
MERRIE: How did you get your start in the movie/television business?
BRIAN: I had gone to journalism school and had been working for about six years as a newspaper reporter in 1984 when my wife’s uncle, Don Ingalls, pulled me aside and suggested I try writing something for television. Don had been a long time television writer-producer dating back to the westerns of the 1950s and at that time was writing and producing the show, Fantasy Island. He liked some of my newspaper work and handed me a bunch of scripts and suggested a few books on screenwriting and said “go for it.” What I did over the next several months is read as many scripts and books as I could get my hands on and basically taught myself the format and boned up on story structure and character. I wrote what is called a “spec” (sample) episode of Fantasy Island . I turned it over to Don and he said I had a real knack for story and dialogue. He said they couldn’t use the spec episode for legal reasons, but offered me the opportunity of writing a freelance episode. They gave me a notion for a story they had been thinking about, signed me to a contract and once again told me to “go for it.” I took a few weeks of vacation and delivered a 44-page script, “Final Adieu,” and it was produced four weeks later. Don told me if Fantasy Island was picked up for an eighth season by ABC, they were going to bring me on as a story editor -- which is an entry-level staff writer. Unfortunately, the show did not come back for another season, and Don went into semi-retirement after that, so that opportunity sort of ended. Over the next few years, I figured that network writing credit might be my “one cup of coffee” in the big leagues, but my appetite for fiction had been whetted and I kept writing spec scripts. A few years later, I had landed on the writing staff of a sitcom, The Family Man, and have been making my living as a writer-producer in Hollywood ever since.
MERRIE: What advice would you give to someone who would like to sell a screenplay in Hollywood ?
BRIAN: For anyone who already has a confidence in their writing skills, my biggest suggestion is to read, read, read as many produced scripts and screenplays as you can get your hands on. Learn and be inspired. Break them down. See how the writer accomplished what they accomplished. There is this concept in the world of art which is called “Copying the Master.” The best way to describe this is to picture a painting class. The students are sitting at their canvass, and the teacher (master) is at the front of the class, doing what? Painting. And what are the students doing? They are copying the teacher. Following his form and style, but bringing themselves to the canvass in order to get better than the teacher. The take way from this for writers is that we need to copy the masters of screenwriting. It doesn’t mean literally copy them. It means learning from their craft and drawing inspiration from how they nailed their stories, and then applying that to your own work. This obviously applies to all forms of writing, whether it be screenwriting or penning novels. There are also several seminal books that every aspiring screenwriter should read. My two favorites are The Art of Dramatic Writing by Lajos Egri, and The Writer’s Journey by Christopher Vogler. Both of these books are considered bibles of the craft among professional screenwriters.
MERRIE: Brian, I love your comment about "Copying the Master." And I agree, this is a method we all should follow as we seek to perfect our art—whether that art is painting or writing. I think novelists can learn a lot by studying the well-defined three-act structure of great screenplays. Thanks for visiting Alien Dream today.
STAY TUNED, ALIEN DREAM READERS. WE'LL HAVE MORE TOMORROW! SAME BAT CHANNEL, SAME BAT TIME.
And don’t forget, there are still openings available to attend the OCCWF conference. Visit their site at http://www.occwf.org/ for more information.
3.20.2008
Once Upon A Writer's Conference
On Saturday, April 12, 2008, local writers will have the opportunity to attend the 2008 OCCWF Writer's Conference, one of the best Christian writing conferences Orange County has to offer. A full slate of speakers will be on hand, including New York Times best selling author, Beverly Lewis, Dan Benson of NavPress, Andy Meisenheimer of Zondervan, screenwriter Brian Bird and literary agent Chip MacGregor. Authors include Alison Strobel Morrow, Susan Titus Osborn, B.J. Taylor and many more!
Please check the OCCWF website for a list of speakers and topics.
Fifteen workshops will cover writing topics that range from fiction to devotionals to screenplays. Participants who register before the conference will have the opportunity to sign up for one consultation with an author, editor or agent to pitch book ideas, submit article proposals and ask questions.
To register for this event, visit the OCCWF website and click on Conferences.
Subscribe to:
Posts (Atom)
