I am always on a quest to understand how story can be structured in a way that makes us feel the content, the message and the pursuit in the strongest way possible. I found this in the brilliant story of Philamena.
What is the theme of your story? This is something that you should have set up in your pitch document phase. In this phase, you want to check your theme. Is it the same? Or, is another theme coming through in a stronger way?
Raymond Khoury is the bestselling author of several novels, including The Last Templar. Born in Lebanon, Raymond and his family were evacuated from Beirut's civil war, and fled to New York when he was 14.
The worst part of face blindness is not realizing there's anything wrong with you. I had no idea that I had a neurological condition until I was well into my 30s, so prior to that I just thought I must be the most self-absorbed person on the planet.
Our decline has certainly been precipitous, and our diligent efforts to reverse it over the last twenty or so years have not yielded much. But I think it is possible to overestimate the power of executives and capital and to underestimate the power of the people who actually do the work.
Are we that different when it comes to our emotional truth? This is a question that I ponder when I travel to other countries to teach story. In Israel, the truth that I discovered went much deeper than the perception.
When writing and/or directing a short, the key is finding a thought-provoking life moment that will intrigue and connect your audience in a short amount of time. You have to enter the story at the right point to make it a success.
It started with her dissertation for her Ph.D. at University of Wisconsin-Madison. Encouraged by her college advisers to write about dead people because their body of work is complete, Kay instead decided to write about her passion, soap operas, hooked on since age twelve.
It was 1983 and my first film as a producer just lost $80,000 on its opening weekend after roughly zero tickets were sold. I had thrown away my legal career and had no idea how I'd make my way in the film business, but luckily I had my first-ever computer from Apple.
When it comes to couples who have been together 32 years, it's easy to say they have a habit of finishing each other's sentences. But with writing-producing team Andrew Schneider and Diane Frolov, they have a habit of finishing each other's paragraphs.
Why the F*%K do we do it? Money? Fame? Love of the process? What is it? Why do we continue to write screenplays when aside from the outrageously arduous task of getting it even remotely right, the odds of then getting it sold and then made and then becoming a hit are...well doubtful.
Here's an excerpt from Episode 151, a revealing conversation with Lesley Arfin, a staff writer on the first two seasons of the hit television show Girls, starring Lena Dunham, as well as the MTV series Awkward.
It's Oscar weekend, and in the desperate journalistic hunt for meaning in self-promoting spectacles -- the Academy Awards, the Superbowl, political conventions -- best-picture nominees have been criticized for straying from the truth.
All professional writers have their own, personal talismans that they swear by for teaching inspiration. The theories are everywhere -- even at the very end of this commentary, where you will be told the best advice on writing you will ever get.
Michael Showalter is perhaps best known for co-writing and starring in Wet Hot American Summer, but Showalter has been finding new ways to make people laugh since he was a member of the sketch comedy troupe The State, on MTV.