Showing posts with label Writing. Show all posts
Showing posts with label Writing. Show all posts

Saturday, June 29, 2019

Discovery Questions, The Words of Emily Logan

Is Joel's and Emily's relationship love at first sight? What do they see at each other and which is the deep soul reason for falling in love? Are they acting on impulse? Are they both artists? Does art play a role on moving things forward? Is there a twist of fate?  

These questions and many more to come are inquiries and exploratory topics regarding my romantic drama. Emily and Joel are a unique duet. The main question is, can they do it when they have to?

Pay attention to the fact that Emily and Joel when the plot starts are 16 year old Americans with whom I created a plot and described characters based on the dominant American culture. The screenplay on the other hand will be distributed internationally for the global audience. 

Just pay attention at the book summary below and stay tuned for the book!

During their teenage years at high school, Joel and Emily fall in love.
But the two young people’s relationship will be tested, as they’re driven to different paths by following their educational and artistic pursuits.
At the age of thirty two, Joel and his family will be tested at all possible levels.  His father is at the hospital, Joel is unemployed and family relationships are at risk.
At Christmas parties with mutual friends, Joel and Emily find each other again. Caught up in a stream of memories and words, Emily is caring, interested, helpful, understanding and loving towards Joel. In the end, it is proved that destiny has a way of catching up with the man and changing his way of thinking.

Wednesday, July 13, 2016

Το φεγγάρι του Αυγούστου, από τη συγγραφέα Όλγα Ρουβήμ

Κείμενο από το βιβλίο Σταγόνες Στιγμής της Όλγας Ρουβήμ

Η ώρα είναι 8 το βράδυ. Δειλά ξεπροβάλλει το φεγγάρι από το μακρινό λόφο. Με κρυφοκοιτάζει. Σαν να θέλει να μου κάνει έκπληξη, αυτό σκέφτηκα. Μα μόλις δω το χρώμα του καλύτερα, καταλαβαίνω ότι απλά ντρέπεται. Πόσο κοκκίνισε! Τι υπέροχο χρώμα!
Κάνω πως δεν το βλέπω κι αυτό ξεθαρρεύει και ανεβαίνει πιο ψηλά. Του κλείνω το μάτι, σταματώ ό,τι κάνω και του αφιερώνομαι. Κάθομαι στο πεζούλι, ανάμεσα στη νερατζιά και τη μανταρινιά. Μερικά κλαδιά φαίνεται αναρωτήθηκαν για το άρωμα των μαλλιών μου και τα πήραν με τα δάκτυλά τους. Τα ξεμπλέκω προσεκτικά και κοιτάζουμε μαζί το φεγγάρι. Φαίνεται πως και τα δέντρα χαίρονται απόψε!
Η πανσέληνος του Αυγούστου! Με λαχτάρα την περίμενα. Είναι η πιο όμορφη της χρονιάς! Κοιτάζω το φεγγάρι και το καμαρώνω. Όμορφο το συναίσθημα της σιγουριάς. Να ξέρεις ότι και φέτος θα είναι όμορφο, όπως ήταν και πέρσι, όπως ήταν και πριν χίλια χρόνια, όπως θα 'ναι και του χρόνου και σ' έναν αιώνα από σήμερα.
Κάθομαι άνετα και το παρατηρώ. Φαίνεται τόσο κοντά μου. Σε μια στιγμή, ξεχνιέμαι κι απλώνω τα χέρια να το φτάσω. Στ' αλήθεια νόμιζα ότι μπορούσα να το αγκαλιάσω. Θα το 'θελα πολύ!
Αν είχε σχήμα και χρώμα η αγάπη, θα ήταν έτσι!
Ένα φεγγάρι, ολοστρόγγυλο, σφαιρικό! Μ' ένα χρώμα που δεν είναι ούτε κόκκινο, ούτε κίτρινο, ούτε πορτοκαλί. Με μία μορφή που μοιάζει σε πρόσωπο με μελαγχολικά μάτια και ευτυχισμένο χαμόγελο. Μ' ένα δέρμα που σου στέλνει τη ζεστασιά του, χωρίς να σε αγγίζει.
Να σου πω ένα μυστικό; Ήθελα να νιώσω μόνο δική μου την αγάπη του φεγγαριού απόψε. Μα δεν την άντεξα! Είναι τόση πολλή, που δεν χωρά σε καμιά μοναξιά, όσο απέραντη κι αν είναι. Έτσι, άρχισα να τη σκορπώ, να τη μοιράζομαι, να την πολλαπλασιάζω. Με λόγια, χάδια, αγκαλιές, μηνύματα σε κινητά κι ευχές. Να σκεφτείς ότι άφησα για λίγο την ομορφιά της αποψινής νύχτας κι έτρεξα στον υπολογιστή μου για να τη μοιραστώ και μαζί σου. Ναι, μην απορείς! Μ' εσένα που θα μπεις στον κόπο να διαβάσεις το κείμενό μου. Είμαι σίγουρη ότι κάποια στιγμή απόψε, αν κοιτάξεις στον ουρανό, θα δεις το φεγγάρι και θα νιώσεις την αγάπη που φέρνει. Ίσως νιώσεις και τη δική μου καρδιά να χτυπά, σαν μια άγνωστη, κρυφή μελωδία που το μυαλό δεν μπορεί να καθορίσει.
Σε αφήνω τώρα, πάω να χαρώ τη φεγγαράδα, πριν περάσει η νύχτα. Θέλω να νιώσω ακόμα λίγο την αγάπη που δίνεται σ' εμάς απλόχερα.
Εύχομαι κάποτε η καρδιά μου να πάρει μόνιμα το χρώμα του φεγγαριού και να μοιάσω με τη φύση.

Θες λίγο μέλι; από τη συγγραφέα Όλγα Ρουβήμ

Κείμενο από το βιβλίο Σταγόνες Στιγμής της Όλγας Ρουβήμ

Θες λίγο μέλι;
Είναι πολύ γλυκό και νόστιμο.
Σ' εσένα μιλάω. Μη με κοιτάς παραξενεμένα.
Ωραία! Ευτυχώς που σταμάτησες να περπατάς και μου δίνεις λίγη σημασία.
Μη με βλέπεις μικρή, ξυπόλητη και μ' ένα άσπρο φορεματάκι. Δεν είμαι ένα αξιολύπητο πλάσμα. Έχω δυνατά χέρια και μπορώ να σηκώσω το μέλι μου.
Ξέρεις, δεν μπορώ να το αφήσω από τα χέρια μου, αν δεν βρω κάποιον που να θέλει να κρατήσει το μέλι μου. Και μαζί κι εμένα.
Δεν το έφτιαξα μόνη μου, όχι. Ούτε τρύγησα κάποιο μελίσσι.
Το φέρνω από πολύ ψηλά. Ο παππούλης μου το έδωσε. Δε θυμάμαι πότε. Έχει πολλά χρόνια. Ίσως δέκα, ίσως χίλια. Δεν τα ξέρω καλά τα μαθηματικά.
Γιατί με κοιτάζεις πάλι απορημένα;
Θα αναρωτιέσαι φαντάζομαι πως με λένε...
Δεν έχω όνομα ακόμα. Μπορείς να μου χαρίσεις εσύ, όμως, αν θέλεις.
Θες λίγο μέλι;
Διστάζεις να απαντήσεις.
Με το δίκιο σου!
Έλα! Κάθισε εδώ στο βράχο και θα σου πω.
Έρχομαι από πολύ ψηλά. Από τη γη όπου ζούνε οι αγέννητοι άγγελοι. Δεν είναι ακριβώς γη σαν τη δική σας. Είναι μαλακιά και βουλιάζουμε μέσα της. Είναι ατέλειωτη. Έχουμε πάντα μαζί μας ένα βάζο με μέλι. Αυτό το βάζο κάποτε μεγαλώνει και αυτό σημαίνει ότι έχουμε αρκετό για να το χαρίσουμε σε δυο ανθρώπους. Ναι, συνήθως τουλάχιστον δυο. Σε αυτούς που θέλουν λίγο μέλι.
Ερχόμαστε κάτω στη γη σας και αρχίζουμε να ψάχνουμε. Πολλές φορές, είμαστε τυχεροί και βρίσκουμε μια γυναίκα και έναν άντρα που μας θέλει.
Ρωτάμε: Θες λίγο μέλι;
Κι αυτοί απαντάνε: Ναι! Θέλουμε πολύ να έχουμε λίγο μέλι.
Τότε, δίνουμε το βάζο με το μέλι κι αυτοί μας δίνουν για αντίδωρο ένα σώμα.
Και γινόμαστε κι εμείς άνθρωποι! Γινόμαστε παιδιά!
Δεν μου είπες...
Θες λίγο μέλι;
Κάποιοι, βέβαια, δεν καταλαβαίνουν τι γίνεται. Μόλις πάρουν το μέλι, ψάχνουν στις τσέπες να βρουν λεφτά να μας πληρώσουν. Μα που να μας βρουν;
Και μετά, όταν γεννηθούμε και γίνουμε παιδιά, νομίζουν ότι αυτοί μας έφτιαξαν, ότι είμαστε δημιούργημά τους.
Κάποιοι από αυτούς κρατάνε το μέλι και το απολαμβάνουν με αγάπη. Κι έτσι, παρόλο που νιώθουν ότι είμαστε κτήμα τους, μας συμπεριφέρονται αρκετά καλά.
Κάποιοι άλλοι που πήραν το μέλι επειδή μας λυπήθηκαν ή επειδή ήθελαν απλά να το αγοράσουν, το αφήνουν εκεί στο πάνω ράφι της αποθήκης, χωρίς καν να το αγγίξουν. Και ξεχνάνε ότι στα παιδιά πρέπει να συμπεριφέρονται πάντα γλυκά και τρυφερά.
Είναι τόσοι πολλοί εκείνοι που λαχταρούν το μέλι μας. Μόλις το πάρουν στα χέρια τους, αρχίζουν να το δοκιμάζουν και δεν μπορείς να φανταστείς τη χαρά τους. Τα πρόσωπά τους φωτίζονται. Τα μαλλιά τους γίνονται λαμπερά. Τα μάτια τους, τα πιο γλυκά του κόσμου.
Το ξέρεις, όμως, ότι υπάρχουν κι εκείνοι που μπορούν να δουν; Μπορούν να αναγνωρίσουν το αγγελάκι στο πρόσωπο του βρέφους που κρατάνε στα χέρια τους. Και είναι πολύ συγκινημένοι. Ξέρουν ότι το βρέφος είναι δικό τους, χωρίς να είναι κτήμα τους. Είναι μικρό και ανυπεράσπιστο και θα το βοηθήσουν και θα το μεγαλώσουν χωρίς να παραπονεθούν. Γιατί να παραπονεθούν για μια ευλογία που τους χαρίστηκε τόσο απλά, όπως θα τους χάριζε κάποιος ένα βάζο μέλι; Μια ευλογία που θα τους κάνει να δέχονται, να κατανοούν, να σέβονται. Να δουν πέρα από τον εγωισμό και το προσωπικό τους συμφέρον.
Δεν μου απάντησες ακόμα...
Θες λίγο μέλι;

Wednesday, September 10, 2014

Οι συγγραφείς είναι εραστές..

Σήμερα αγαπητοί μου φίλοι θα μιλήσουμε για την πραγματικότητα του συγγραφέα, όπως όχι μόνο πολλοί από εσάς την βιώνετε αλλά και μέσα από σκέψεις που πλέον είναι γνωστές, ελκυστικές, ενδιαφέρουσες αλλά και οικειοποιούμενες από πολλούς άλλους συγγραφείς. Σας παρουσιάζω ένα βιβλίο το οποίο είναι σίγουρο ότι θα αγοράσω και μάλιστα με ένα θέμα το οποίο είχα την τύχη όχι μόνο να ακούσω αλλά πλέον να μπορώ να το νιώθω. Το βιβλίο είναι της Πασχαλίας Τραυλού στοιχεία του οποίου βλέπετε παρακάτω:


Οι εραστές της γραφής
Πασχαλία Τραυλού
Ημ. Έκδοσης 08/04/2011
Ανατύπωση 2η

Λίγα λόγια για το βιβλίο 

Εραστής της γραφής είναι αυτός που περπατάει συνομιλώντας με τον ήρωά του, εκείνος που κρατάει συνεχώς σημειώσεις στο κουτί των τσιγάρων του, εκείνος που, ατενίζοντας τον ορίζοντα, βλέπει όχι ό,τι υπάρχει στην ευθεία των ματιών του, αλλά ό,τι εκτυλίσσεται στα άδυτα της ψυχής του. Τα ψέματα και οι αλήθειες, τα προσωπεία των ηρώων και των δημιουργών, οι συνειρμοί και τα σύμβολα, οι πληγές και τα οράματα, το φως και το σκότος, οι ιδέες που γίνονται λέξεις και οι λέξεις που φιλοτεχνούν «κοστούμια» ιδεών παίρνουν μια θέση στη χορεία αυτών των στοχασμών, προκειμένου να δώσουν κάποια εξήγηση για τον μεγαλειώδη όσο και ψυχοφθόρο έρωτα της γραφής. Μια χαρτογράφηση των σκοπέλων της δημιουργικής διαδικασίας. Ένα οδοιπορικό στην ψυχή του εραστή της γραφής. 

Συνεχίζοντας τις σκέψεις μίας υπέροχης συγγραφέος γύρω από τα άδυτα της ψυχής του ανθρώπου σε αντίθεση με τον ορίζοντα των ματιών του, σε ένα θέμα που υπερβαίνει κατά πολύ ακόμα και τον ιδανικό έρωτα, έτυχε να νιώσω λόγια και συζητήσεις ανθρώπων, επικαλούμενοι το φως και το σκοτάδι, μία επικείμενη συντριβή αλλά και μία σωτηρία, μέσα από τον αγώνα του ανθρώπου που πρέπει "να σκάψει και λίγο την ψυχή του"..;) Το να βγει νικητής από αυτή τη μάχη, άλλωστε, θα μπορούσε η γνήσια προέλευση μίας θρησκείας (όπως πολλοί επιστήμονες εστιάζουν στα φιλοσοφικά προβλήματα) να μελετηθεί χωρίς διαφωνία? Αν μπορείτε να προβάλλετε αυτό το φιλοσοφικό θρησκευτικό αγώνα στην έννοια ψυχή, στις εσωτερικές συγκρούσεις και προσδοκίες, σίγουρα αυτά που θα μάθετε θα είναι πολλά. Καλό σας βραδάκι...!

Saturday, August 9, 2014

Το παραμύθι της Σταχτοπούτας..

Η Σταχτοπούτα είναι ένα κλασικό παραμύθι που αφηγείται τις περιπέτειες μιας κοπέλας, που την κακομεταχειρίζονται η κακιά μητριά της και οι αδερφές της. Συγγραφέας της Σταχτοπούτας θεωρείται ο Σαρλ Περώ, ωστόσο υπάρχουν καταγεγραμμένα στοιχεία παρόμοιων ιστοριών σε κινεζικά χειρόγραφα που χρονολογούνται από το 850 μ.Χ., και μια έκδοση του μύθου από την αρχαία Αίγυπτο.

Το κεντρικό πρόσωπο του παραμυθιού είναι η Σταχτοπούτα (Cendrillon στο πρωτότυπο του Περώ), κόρη ενός πλούσιου εμπόρου. Η μητριά της και οι ετεροθαλείς αδελφές της υποβιβάζουν την Σταχτοπούτα σε ρόλο υπηρέτριάς τους, ενώ αυτές χαίρονται όλα τα πλούτη του εμπόρου, και την αναγκάζουν να κοιμάται στις στάχτες του τζακιού, απ' όπου και το όνομα Σταχτοπούτα. Κάποιο βράδυ, την επισκέπτεται η νεράϊδα-νονά της και της δίνει ένα φόρεμα, μια άμαξα κι ένα ζευγάρι γυάλινα γοβάκια, προκειμένου να πάει στον χορό του Πρίγκιπα. Ο πρίγκιπας εντυπωσιάζεται και την επόμενη μέρα, όταν η άγνωστη εμφανίζεται πάλι στο παλάτι. Καθώς δεν ξέρει τίποτα γι' αυτήν, αποφασίζει να τη βρει χρησιμοποιώντας το γοβάκι που άφησε στις σκάλες φεύγοντας, βάζοντας τις γυναίκες της περιοχής να το δοκιμάσουν για να δει σε ποια ταιριάζει. Οι αδελφές της προσπαθούν με κόπους και βάσανα να φορέσουν το γοβάκι, προκειμένου να κερδίσουν τον πρίγκιπα, μάταια όμως, καθώς ταιριάζει μόνο στην Σταχτοπούτα, την οποία και παντρεύεται ο πρίγκιπας.

Το παραμύθι έχει γνωρίσει αρκετές παραλλαγές, που διαφέρουν σε ορισμένες λεπτομέρειες της πλοκής. Έχει διασκευαστεί σε μπαλέτο από τον Σεργκέι Προκόφιεφ και τον Γιόχαν Στράους και αρκετές φορές σε όπερα από τον Ροσσίνι και άλλους συνθέτες. Έχουν γυριστεί επίσης αρκετές ταινίες βασισμένες στην ιστορία, με πιο γνωστή διασκευή αυτή του Ουώλτ Ντίσνεϊ.

Η Εκδοχή των Γκριμ

Στην μεταγενέστερη εκδοχή των αδελφών Γκριμ, ο ρόλος της νεράιδας-νονάς αντικαθίσταται από το περιστέρι που μένει στο δέντρίλι δίπλα από τον τάφο της μητέρας της Σταχτοπούτας. Το περιστέρι έχει έναν σημαντικό ρόλο σε όλη την ιστορία, διότι βοηθά την Σταχτοπούτα να καθαρίσει τις φακές έτσι ώστε να πάει στον χορό, της δίνει το φόρεμα και τα γοβάκια. Όταν ο πρίγκιπας πάει να δοκιμάσει στην μια αδερφή το γοβάκι, αυτή παρακινούμενη απ' την μητριά, κόβει το μεγάλο δάχτυλο του ποδιού της και το πόδι της χωράει στο γοβάκι. Ο πρίγκιπας νομίζει πως αυτή είναι η κοπέλα που έψαχνε, την ανεβάζει στο άλογο του και ξεκινάνε για το παλάτι, όμως τα περιστέρια στα δέντρα του φωνάζουν να κοιτάξει το γοβάκι που είναι μουσκεμένο από το αίμα του ακρωτηριασμένου δαχτύλου. Ο πρίγκιπας καταλαβαίνει την πλεκτάνη και επιστρέφει την αδερφή σπίτι της. Το ίδιο ακριβώς συμβαίνει και με την δεύτερη αδερφή, με την διαφορά ότι εκείνη κόβει την φτέρνα της. Το περιστέρι τον οδηγεί στον περιστερώνα, όπου είχαν κλειδώσει την Σταχτοπούτα. Επίσης, η κολοκύθα/άμαξα, τα ποντίκια/άλογα, ο αρουραίος/αμαξάς και οι σαύρες/ακόλουθοι δεν υπάρχουν στην εκδοχή αυτή. Μια άλλη καινοτομία των Γκριμ είναι η αύξηση του χορού από έναν σε τρεις. Τις δύο πρώτες νύχτες, η Σταχτοπούτα φορά ένα ασημοκέντητο φόρεμα, ενώ στην τρίτη ένα χρυσό. Οι αδελφοί Γκριμ αναφέρουν ότι ο λόγος που ξεχάστηκε το γοβάκι είναι επειδή κόλλησε στην πίσσα που είχε διατάξει να βάλουν ο πρίγκιπας για να μη μπορέσει να φύγει η Σταχτοπούτα.

(Πηγή Βικιπαίδεια)

Cinderella (Disney character)

Cinderella is a fictional character who appears in Walt Disney Pictures' 12th animated feature film Cinderella (1950) and its sequels Cinderella II: Dreams Come True (2002) and Cinderella III: A Twist in Time (2007). In the original film, Cinderella is voiced by American singer and actress Ilene Woods. For the sequels and subsequent film and television appearances, Woods was replaced by American actresses Jennifer Hale and Tami Tappan, who provide the character's speaking and singing voices respectively.

In the wake of her father's untimely demise, Cinderella is left in the unfortunate care of her cruel stepmother and jealous stepsisters, who constantly mistreat her, forcing Cinderella to work as a domestic servant. When Prince Charming holds a ball, Cinderella, aided by her kind Fairy Godmother and equipped with a beautiful ballgown and a unique pair of glass slippers, attends, only to have to leave at 12 Midnight, when the Fairy Godmother's spell is broken (Including Cinderella's ball gown turning back into pink & white rags).

Reception towards Cinderella has been generally negative, with film critics describing the character as much too passive, boring and one-dimensional, additionally admitting to finding the film's supporting characters more intriguing. Woods' vocal performance, however, has been lauded. Unaffected by her unfavorable reception, Cinderella has nonetheless become one of the most famous and recognizable princesses of all-time. With her iconic glass footwear, ballgown, hairstyle and transformation, one of the first on-screen makeovers of its kind, the character has been established as a fashion icon, receiving accolades and recognition from InStyle, Entertainment Weekly, Glamour and Oprah.com, as well as footwear designer and fashion icon Christian Louboutin himself, who in 2012 designed and released a shoe based on Cinderella's.

(Source Wikipedia)

Thursday, August 7, 2014

The Snow White Fairytale..

At the beginning of the story, a queen sits sewing at an open window during a winter snowfall when she pricks her finger with her needle, causing three drops of red blood to drip onto the freshly fallen white snow on the black windowsill. Admiring the beauty of the resulting color combination, she says to herself, "Oh how I wish that I had a daughter that had skin as white as snow, lips as red as blood, and hair as black as ebony." Soon after that, the Queen gives birth to a baby girl who is as white as snow, as red as blood and has hair as black as ebony. They name her 'Snow White,' but sadly, the Queen dies after giving birth to her.

After a year has passed, the King takes a new wife, who is beautiful but also unutterably wicked and vain. The new queen possesses a magic mirror which she asks every morning, "Magic mirror in my hand, who is the fairest in the land?" The mirror always replies, "My queen, you are the fairest in the land." The Queen is always pleased with that because the magic mirror never lies. But when Snow White reaches the age of seven, she becomes more beautiful each day and even more beautiful than the Queen, and when the Queen asks her mirror, it responds, "My queen, you are the fairest here so true. But Snow White is a thousand times more beautiful than you."

This gives the queen a great shock. She becomes yellow and green with envy and from that hour on, her heart turns against Snow White, and she hates her more and more each day. Envy and pride, like ill weeds, grow in her heart taller every day, until she has no peace day or night. Eventually, the Queen orders a huntsman to take Snow White into the deepest woods to be killed. As proof that Snow White is dead, the Queen demands that he return with her lungs and liver. The huntsman takes Snow White into the forest. After raising his knife, he finds himself unable to kill her as she sobs heavily and begs him: "Oh, dear huntsman, don't kill me! Leave me with my life; I will run into the forest and never come back!" The huntsman leaves her behind alive, convinced that the girl would be eaten by some wild animal. He instead brings the Queen the lungs and liver of a young boar, which is prepared by the cook and eaten by the Queen.

After wandering through the forest for days, Snow White discovers a tiny cottage belonging to a group of seven dwarfs. Since no one is at home, she eats some of the tiny meals, drinks some of their wine and then tests all the beds. Finally the last bed is comfortable enough for her and she falls asleep. When the seven dwarfs return home, they immediately become aware that someone sneaked in secretly, because everything in their home is in disorder. During their loud discussion about who sneaked in, they discover the sleeping Snow White. The girl wakes up and explains to them what happened and the dwarfs take pity on her, saying: "If you will keep house for us, and cook, make beds, wash, sew, and knit, and keep everything clean and orderly, then you can stay with us, and you shall have everything that you want." They warn her to be careful when alone at home and to let no one in when they are away delving in the mountains.

Meanwhile, the Queen asks her mirror once again: "Magic mirror in my hand, who is the fairest in the land?" The mirror replies: "My queen, you are the fairest here so true. But Snow White beyond the mountains at the seven dwarfs is a thousand times more beautiful than you." The Queen is horrified to learn that the huntsman has betrayed her and that Snow White is still alive. She keeps thinking about how to get rid of Snow White, then she disguises herself as an old peddler. The Queen then walks to the cottage of the dwarfs and offers her colorful, silky laced bodices and convinces the girl to take the most beautiful bodice as a present. Then the Queen laces it so tightly that Snow White faints, causing the Queen to leave her for dead. But the dwarfs return just in time, and Snow White revives when the dwarfs loosen the laces.

The next morning the Queen consults her mirror anew and the mirror reveals Snow White's survival. Now infuriated, the Queen dresses as a comb seller and convinces Snow White to take a beautiful comb as a present. She brushes Snow White's hair with a poisoned comb, and the girl faints again, but she is again revived by the dwarfs. And the next morning the mirror tells the Queen that Snow White is still "a thousand times more beautiful." Now the Queen nearly has a heart attack in shock and rage. As a third and last attempt to rid herself of Snow White, she secretly consults the darkest magic and makes a poisoned apple, and in the disguise of a farmer's wife, she offers it to Snow White. The girl is at first hesitant to accept it, so the Queen cuts the apple in half, eating the white (harmless) half and giving the red (poisoned) half to Snow White. The girl eagerly takes a bite and falls into a state of suspended animation, causing the Queen to triumph. This time the dwarfs are unable to revive the girl because they cannot find the source of Snow White's poor health, and assuming that she is dead, they place her in a glass coffin.

Time passes and a prince traveling through the land sees Snow White. He strides to her coffin and, enchanted by her beauty, instantly falls in love with her. The dwarfs succumb to his entreaties to let him have the coffin, and as his servants carry the coffin away, they stumble on some roots. The tremor caused by the stumbling causes the piece of poisoned apple to dislodge from Snow White's throat, awakening her. The Prince then declares his love for her, and soon a wedding is planned. The couple invite every queen and king to come to the wedding party, including Snow White's stepmother. Meanwhile the Queen, still believing that Snow White is dead, again asks her magical mirror who is the fairest in the land. The mirror says: "You, my queen, are fair so true. But the young Queen is a thousand times fairer than you."

Appalled, in disbelief, and with her heart full of fear and doubts, the Queen is at first hesitant to accept the invitation, but she eventually decides to go. Not knowing that this new queen was indeed her stepdaughter, she arrives at the wedding, and her heart fills with the deepest of dread when she realizes the truth. As a punishment for her attempted murders, a pair of glowing-hot iron shoes are brought forth with tongs and placed before the Queen. She is forced to step into the burning shoes and to dance until she drops dead.

(Source Wikipedia)

Sunday, June 29, 2014

Web Content Lifecycle..

The web content lifecycle is the multi-disciplinary and often complex process that web content undergoes as it is managed through various publishing stages.
Authors describe multiple "stages" (or "phases") in the web content lifecycle, along with a set of capabilities—such as records management, digital asset management, collaboration, and version control—that may be supported by various technologies and processes. One recognized technology for managing the web content lifecycle is a web content management system.
Concepts often considered in the web content lifecycle include project management, information management, information architecture, and, more recently, content strategy, website governance, and semantic publishing.

Stages

Various authors have proposed different "stages" or "phases" in the content lifecycle. Broadly speaking, the stages include content creation/development, revision, distribution, and archiving. The lifecycle processes, actions, content status, and content management roles may differ from model to model based on organizational strategies, needs, requirements, and capabilities.

Two stages

In 2003, McKeever described "two iterative phases": "the collection of content, and the delivery or publishing of that content on the Web." She also explains a Web Content Management (WCM) "four layer hierarchy"—content, activity, outlet, and audience—intended to illustrate the breadth of WCM.

Three stages

Bob Boiko's Content Management Bible emphasizes three major parts: collect (creation and editing is much more than simply collecting), manage (workflows, approvals, versioning, repository, etc.), and publish. These concepts are graphically displayed in a Content Management Possibilities poster developed by Boiko. The poster details such content management concepts as metadata, syndication, workflows, repositories, and databases.
Gerry McGovern also sees three "processes," designating them creation, editing, and publishing.

Four stages

JoAnn Hackos' Content Management for Dynamic Web Delivery argues for four "components": authoring, repository, assembly/linking, and publishing.
In Managing Enterprise Content, Ann Rockley argues for the planning of content reuse through four stages: create, review, manage, deliver. A stage can have sub-stages; for example, the "create" stage has three sub-stages: planning, design, and authoring and revision. She notes that content is often created by individuals working in isolation inside an enterprise (the coined term is the Content Silo Trap). To counter this content silo effect, she recommends using a "unified content strategy," "a repeatable method of identifying all content requirements up front, creating consistently structured content for reuse, managing that content in a definitive source, and assembling content on demand to meet your customers’ needs."

Five stages

Nakano described five "collaboration operations": Submit, Compare, Update, Merge, and Publish.
The State government of Victoria (Australia) produced a flowchart with a diagrammatic view of the web content lifecycle with five stages: Develop, Quality Approval, Publish, Unpublish, and Archive. Some of the stages include sub-stages (for example, Archive consists of Storage, Archived, and Disposed) intended to further delineate content status. In addition, this model depicts three aspects—Status, Process, and Roles—as part of the flow for web content. The four roles in this model are content author, content quality manager, business quality manager, and records manager.
The AIIM speaks of managing content “to achieve business goals”. AIIM ECM 101 Poster from 2003, and the AIIM Solving the ECM Puzzle Poster from 2005, present the same five stages: Capture, Manage, Store, Deliver, Preserve.

Six stages

The Content Management Lifecycle Poster devised by CM Pros suggests six "steps":

    Plan
    Develop
    Manage
    Deploy
    Preserve
    Evaluate

Each step contains sub-steps. For example, step 1, Plan, consists of Align, Analyze, Model, and Design; and step 2, Develop, consists of Create, Capture, Collect, Categorize, and Edit.

Seven stages

Bob Doyle suggests seven stages of the Web content lifecycle:

    Organization
    Creation
    Storage
    Workflow
    Versioning
    Publishing
    Archives

Doyle argues for seven stages based on the psychologist George A. Miller's famed magical number "seven plus or minus two " limit on human information processing. He notes this is merely a suggestion and that one should "add or subtract a couple of your own favorites."

Governance rather than workflow

In a 2005 article, Woods addressed governance of the content lifecycle. In his model, there are categories of issues to address, rather than a simple, cradle-to-grave pathway. He writes that most content governance questions fall into one of the following categories:

    Legacy Content Migration
    Template Considerations
    New Content Creation
    Content Modification and Reuse
    Version Control and Site Rollback
    Content Rotation and the End of the Road
    Monitoring Progress, Managing for Success

More recently, Halvorson has humorously suggested 15 discrete steps in the web content lifecycle: Audit, Analyze, Strategize, Categorize, Structure, Create, Revise, Revise, Revise, Approve, Tag, Format, Publish, Update, Archive.

Role of technologies

Enterprise content management as a business strategy might incorporate web content management:

    When integrated with an ECM system, WCM enables organizations to automate the complete Web content lifecycle. As soon as new content is developed, the system ensures that it goes live the moment it is intended to—not a minute earlier. By specifying timed releases and expiration dates, content is published to and removed from the Web according to recommendations, requirements and even regulations.
    —Jenkins (2004)

A web content management system can support and enhance certain processes because of automation, including document management, templates, and workflow management. However, the absence of well defined roles and process governance will greatly dilute the effectiveness of any technology intended to augment/enhance the publishing process overall.

Role of information management

Information management describes the "organization of and control over the structure, processing, and delivery of information." The goal of information lifecycle management is to use policies, operations, and infrastructure to manage information throughout its useful life. However, businesses struggle to manage their data and information.

    The missing stage in all the major sources is the organization of information, structuring it where possible, for example using XML or RDF, which allows arbitrary metadata to be added to all information elements. This is the secret that the knowledge managers describe as turning mere data or information into knowledge. It allows information to be retrieved in a number of ways and reused or repurposed in many more.
    —Doyle (2005)

Using semantic markup in the publishing process is part of semantic publishing. Tim-Berners Lee's original vision for the Semantic Web has yet to be realized, but many projects in various research areas are underway.

(Source Wikipedia)

Monday, March 31, 2014

Send Your Characters to Hell, ScreenwritingU!

Written by Hal Croasmun on June 19, 2010.



When your lead character is placed in a terrible spot, entertaining things happen.  The audience worries about him. They feel sympathy for him.  They want to know what is going to happen to him.  Why? Because you, the God of your script, set it up that way.

Or did you?


Sometimes, it appears that writers are too nice to their characters. You've established a deep friendship with those characters and don't want to hurt their feelings.  You'd never put a friend in such an awful situation.  So why would you do that to your characters?
There's nothing wrong with loving your characters.  After all, they were so much fun to create.  But remember, they have a job to do that, if done right, will bring them to life along with your career.
What is their job?  To go through hell and somehow survive to tell about it.
Think of it this way.  If your characters don't experience conflict and tension, neither will your audience.  This is important.  I don't mean that a story can't have happiness or fun or any other positive emotions.  For a story to be an emotional roller-coaster ride, there has to be both ups and downs.
But the highs and lows need to be delivered effectively and in most stories, it is the conflict that keeps an audience glued to their seats.

SOLUTION: Turn up the heat on your characters and watch them roast.


Here are a few suggestions.  At some point, I may write articles providing details on these strategies.  But for now, this simple list can provide you some possible solutions.


1. Put them in uncomfortable situations as often as possible.


2.
Make sure the main conflict of the story is an absolutely "unsolvable puzzle" for the main characters.


3. Every time it looks like they'll succeed, send them a twist that mucks up their plans.


4. Place other characters in their lives that either sabotage or disrupt your main character's usual coping strategies.


5. Alternate "hope" and "hopelessness" whenever possible. The first pulls us back in and the second makes us worry.


6. Force them to do the one thing they would never do.


7. Don't give them the easy way out.  Leave them in pain for as long as possible.


8. Murphy's Law and misfortune suddenly visit their lives in unusual and interesting ways.


9. Take their problems to an extreme.


10. Make sure their internal conflict is represented in a graphic manner as well.
 
BTW, movies aren't all about pain.  As I said, there are both highs and lows in any good movie.   But try this exercise and see what you find out about conflict:

-------------------- EXERCISE --------------------------


Watch three of your favorite movies with a pad of paper.  As you do, make a list of all the things the writer did to cause pain and conflict for the main characters.

----------------------------------------------------------------

Even if you've written 10 screenplays and watched thousands of movies, you may still be surprised at the results.  You'll see both conflicts and setups for conflict that you never noticed before.
I heard a song once that said "you got to go through hell to get to heaven."  Could be that same advice applies to writing movies... or being a writer...or even being a producer.
Send your characters to hell and you'll send your audience through a highly entertaining movie.
And if you want help punching up your script, check out our "Fresh & Edgy Screenwriting Class."

Besting Your Own Best, ScreenwritingU!

Written by Hal Croasmun on June 9, 2010.



About a year ago, we started having a curious thing happen in our more advanced classes.  People started asking me this question:
 
"This is the best script I've ever written.  How can I possibly improve the best I've ever done?"
 
My normal thought on this is to learn more skills and then apply them to the script.  But the writers who were asking were some of our best writers, so I had to look deeper.
So I read some of their scripts and they were right.  Those were some pretty good scripts.  The interesting thing was that there was nothing wrong with those scripts.
Nothing wrong.
Make sure you understand this because it is going to be important later in this article.  Most scripts have things wrong with them. Some have glaring mistakes.  So they are easy to critique and improve.  You just solve the problems.
But these scripts didn't have any problems.  There was nothing wrong with them.  So the standard solutions didn't work.
And that is when I realized something.  Most people work to the point where there is nothing wrong with their script...and then they're done.  Their standard for success is "nothing wrong."
Essentially, they have a script with no flaws.  Is that the same thing as a great script?  Can a script have nothing wrong and still not sell? You bet.
You don't just want a flawless script.  You want an amazing script.
Right?
You want a script that blows producers away.  You want it to sell you as a writer and you want it to be produced.
That takes more than "nothing's wrong."
So I created a simple, but profound 4-step process for besting your best.
 
THE PROCESS FOR BESTING YOUR BEST
 
1.  Decide that you are going to improve this script until it is truly amazing and until it causes people in this industry to give you the respect and admiration you deserve.
 
This is important.  When I talk with people who have written their best script ever, most of them don't want to do anything else to it. What they want is for it to sell the way it is.
Essentially, they've shut off the creative process because they thought their script was already done.
In order to improve it (improve is different than change, remember?), they must step back into the arena and fight the fight again.  All it takes is a decision.
Make the decision now and you'll enter into the creative process on this script.  As soon as you decide, you'll start thinking of ways to improve the script.  Just do it.
 
2.  Put the script away for 7 to 21 days.
 
You've made the decision to improve this script.  Now, I want you to get some distance from it.  That way, the next step will be so much more valuable.
If you've ever done this, you know that when you return to the script, the break time allows you to see the script with fresh eyes.
I know that you are going to want to dive in right away, but that is just stirring the same pot.  The objective here is to separate the script from the emotion that may be clouding your thinking.
When you return to the script, you'll be more objective and that means you'll be more creative.
 
3.  Change your standard from "nothing wrong" to "nothing can be improved" and discover all the areas that can be elevated.
 
This is the fundamental shift that will double or triple the quality of your screenwriting.  Once you have a script where there is nothing wrong, you can then go for this new standard.
This step is simple.  As you read your script, flag everything that can be improved.  Using a 1 - 10 scale, if a character is a 6 and you'd like them to be a 10, flag that character.  If a scene is good, but not great, flag that scene.
Do that process on every structural point, character, scene, description line, and dialogue line.
We had a lady come to us with a "perfect script."  She had two different consultants confirm that the script was perfect and ready for the market.
Both Cheryl and I read it and we were very impressed.  She had written a script to be proud of.  There wasn't a single thing wrong with it and it was a compelling read.
When I did this process with it, I found 39 places we could improve.
Keep this in mind.  The script consultants weren't lying to her.  Her script was perfect -- according to their standards. But she wanted the script to go to Studios, so I applied a higher standard.
When we finished elevating those 39 spots, she said that the script was at least 200% better.   I believe her assessment was accurate.
 
4.  Elevate everything you can until nothing can be improved.
 
This final step means you are going to apply the best skills you have and you'll be doing a lot of brainstorming.
But it is worth it.
Simply put, just start with the first item that needs to be improved and get clear on the purpose of that item.  Then, brainstorm ways to fulfill that purpose and don't stop until you have elevated the item.
Then move to the next item.  Continue that process until all the items are improved to the level you want them to be.
BTW, this works extremely well -- if you have professional level skills so you can elevate any piece of writing.   If you want to improve your skills, join us for an upcoming ProSeries and you'll get what you need to make this process fly at a professional level.
---------------


WHAT TO DO?
It is easy to think that you've worked your script to death and there is nothing else you can do.   But if you actually go through your script focusing on the search for places you can improve, you'll be surprised how many show up.
Do this process one time and you'll be hooked.  It will take a lot of work, but the results will astound you.  Anyone who has read your writing before will see a significant improvement. Many of them will be overwhelmed at the new quality level.
Final Recommendation:  Take a script you've already written through this process IMMEDIATELY.  It will give you a better script to showcase your talent and turn this information into an experience that will pay off many times in the future.
And when you win a contest or sell a script, email me to let me know how this process worked for you.
I'm looking forward to that.

Becoming a Naturally Talented Screenwriter, by ScreenwritingU!

Written by Hal Croasmun on February 19, 2010.

What if agents and producers saw you as “naturally talented?”

There are two ways to become a great screenwriter.  One is to find your “natural talent.”  The other is to build in all the skills, understanding, and creative process that can express that talent in the most amazing way possible. 
You need to do both.   Today, I’ll map out a plan for writing from your core – from that natural talent that you have deep inside of you. 
Keep this in mind:  Becoming a great screenwriter is a growth process.  Done right, you’ll mature a bit more every day – in writing skill, in philosophy, and in creatively expressing yourself.

1.  What are you naturally good at that can help your screenwriting?

A quick search will likely reveal some of your natural talents.  Maybe you can visualize a story.  Maybe you come up with good dialogue.  Maybe you can dream up unique and interesting characters.  Maybe you just love movies. 
Make a list of what you just naturally do well having to do with writing.   But don’t stop with the obvious.   Keep looking for a deeper understanding of what you are naturally talented at.   The more you understand your own talents, the more you’ll be able to focus on them to deliver your own unique voice in your screenplays.
Every day, you can discover something more about what you are naturally good at.  Brilliant talent isn’t always easy to understand or see.   Keep looking deeper. 
And with each discovery, your TALENT emerges.

2.  What interesting situations have you lived that you can bring to your characters and stories?

We’ve all had ups and downs in life.  Love and tragedy.  Successes and failures.  Embarrassments and proud moments.  Breakdowns and breakthroughs. 
Just as important, we all have a public face and a private face.  We’ve said one thing and meant another.  We’ve been both courageous and fearful .  We’ve had times we’ve won and felt like losers, but also had times we lost and felt like a winner.  Life has given us enough experience to build the most interesting situations and characters. 
Find those moments – especially the paradoxical moments – and fill your stories with them. 

3.  How can you use your imagination to bring those moments to life in a unique way?

The most common thing for people to do is write exactly what happened to them.  They put their characters in common situations and have them do common things.
Rather than that, what if you took your experiences and understanding and translated that into something amazing?   Your experience of being embarrassed at dinner becomes a tabloid publicized humiliation for your character.   Your experience of being pulled over by a traffic cop becomes your character being arrested for multiple felonies someone else did. 
Use your imagination to transform your experiences into an emotional roller-coaster ride that causes your character to grow in some amazing way while still feeling real.  
What makes it feel real is that it comes from your experience and understanding.  What makes it amazing is when you use your imagination to set it in a whole new context or to give it to us in an unexpected way. 
Can you take what you know and imagine it in an even more entertaining way?   You bet you can. 

4.  What skills will you learn that will elevate the quality of your screenwriting?

If you don’t think this game is about skill, you need to look again.  Read any great screenplay and you’ll see a combination of character depth, subtext, meaning, setup/payoff, and interest – all designed into single lines of dialogue. 
Those happen because the writer spent years learning ALL OF THOSE SKILLS.   Translating the story in your mind onto the page is all about having the right skills.  Higher quality skills equals a stronger translation of your vision and a more compelling read. 
But don’t worry; you’ll learn those skills as you progress.   You’ll discover them as you read produced screenplays and experiment with your own scripts or you can learn them even faster in ScreenwritingU classes because we give you exactly what you need to succeed.
Whichever route you take, make learning high-level screenwriting skills a priority now.

5.  How are you going to test your writing to make sure it is professional?

At some point, you need to find out how good you really are – and how much improvement you truly need to be professional.  
One way to think of it is climbing a ladder.  You write a script and move to rung 1.   You submit it to a contest and maybe you don’t even place.  So you take some classes, write another script…and your script is a Quarter-finalist.  You’ve moved to rung 2. 
Go back, apply more of #1 – #4 (natural talent, experience, imagination, and skill) and you make it to Finalist.  Not bad.  You’re on rung 3.  Now take some more classes, write another script, get script consulting, and surprise; you win the contest.  Rung 4. 
But does that make you professional?  So you test that script against the market and are turned down by everyone.  Give up?  Hell no.  You’ve come this far and with a bit more work, you’ll get where you want to go.  Apply more of #1 – #4.  Take better classes, get a better script consultant, write a better script…and you get optioned.  Rung 5. 
You continue moving up that ladder until one day, you’re at the top – A-List. 
Notice two things – 1.  You kept going back to your core and most likely, each time, you discovered something new about your natural talents.  2.  You kept learning, growing, and finding even better ways to express yourself in screenplays. 
Stay on this path and soon, you’ll be seen as “naturally talented” — and you’ll be paid for it!

Friday, March 28, 2014

Are You Thankful For Your Writing?

by, Jacob Krueger November 24 2011

On this Thanksgiving Holiday, I’d like to invite you to take a moment to ask yourself the following question:

What are you thankful for in your writing?

So often, we spend our time criticizing ourselves, searching for what is wrong, and what can be improved in the words we write.  And certainly there is value in that part of the process.
But it’s important to remember that the real key to becoming the writers we want to be lies in identifying what we love.

When you identify on the things you love about your writing, you shift your focus away from the things you lack, and onto the wonderful gifts you already have.

In this way, you give yourself a foundation upon which to build, open yourself up to the opportunities in your writing, and invest yourself with the hope and excitement that will carry you through to the end.
So take a moment today, think about your writing, and write down the things you most love about it.
Think about your process.  What about it makes you happy?
Look at a scene you’ve written or a character you’ve created.  What do you most connect to?
What’s a line of dialogue you’re thankful to have discovered? A theme you’re thankful to have explored? A character you’re glad to have taken on a journey? Or an obstacle you’re grateful to have wrestled with and overcome?
Get specific about all the things you’re thankful for.  And then,  if you’d like, share some of them with us and with your friends by posting what you love about your writing to our new Facebook Page!
We’ll be thankful that you did!

Happy Thanksgiving!
Jake

Wednesday, March 26, 2014

Where Is Your Character Going?

by Jacob Krueger

I’m writing this from the air on my way to Costa Rica, thinking about the importance of location, both in screenplays and in life.
We behave differently in different places, and so do our characters. Travelling abroad, we speak to people we wouldn’t necessarily speak to, face fears we wouldn’t normally face, and get in touch with aspects of ourselves we wouldn’t normally recognize. New locations break us out of our routines, and open us to new experiences.

 

And of course they do the same for our characters.


As writers we know our job is to take our characters on a profound journey. But oftentimes we pay so much attention to the emotional side of that journey, that we forget the value of the physical side.

everythingilluminated

Simply choosing the right physical location for a scene to take place can completely change the value of that scene, the given circumstances for your character, and the feeling it gives to your screenplay.

 

There are many ways to take your characters abroad.


The concept of home is important for everyone, and we tend to be attached to the places we consider home, whether they are working for us or not. We stay in places we find unsatisfying simply because it feels safe, normal or routine. And our characters do the same thing.
Taking your characters abroad means forcing them out of the places they think of as home: the places are comfortable and normal for them. You can do this by taking them to a foreign place or an unexpected location. Or by choosing a location that already has a strong value for them and allowing that value to change.

little-miss-sunshine-movie_79849-1152x864

Make your characters confront their fears, go to a place they are afraid of and allow something beautiful to happen to them there. Or, pick a place that seems comfortable and safe and violate that safety with something out of the ordinary. Force them to confront an old memory in a location in a place where they grew up, and find something different than they expected. Or allow an element from a location in their past to enter their present day life.


When you break your characters routine, you force them to take profound journeys.



And the great thing is, when you choose the right location, the place itself can do half the writing work for you! In Toy Story 3, think about the value of the daycare center, which begins as pure heaven, the answer to the toys’ desperate need to be played with, and ends up turning into a living hell, run by a satanic teddy bear. The contrast between the value of the daycare center and the shifting value of home helps us understand the character’s journey, simply by understanding the location.
Think about the value of a location in a movie like Into The Wild, as a character travels toward his imagined paradise of Alaska, only to realize he’s said no to all the real paradises that were offered him along the way.
Think about any haunted house movie, or a twist on the genre like Cabin in the Woods, and once again you’ll see how important the specifics of a given location can be to your storytelling and your character’s journey.

 

Your scenes can travel too.


If you’ve ever tried to get anyone to change, you know it doesn’t happen easily. Our characters cling to familiarity just like our loved ones do. And we cling to familiarity as well.
One of the unconscious ways we do this is by writing familiar scenes in familiar locations: the breakup at the fancy restaurant, the argument about dirty dishes in the kitchen, the drunken binge at the bar. We end up unconsciously writing scenes that feel cliché, simply because we’re attached to the locations that feel familiar to us.

 

When you switch your location, magic can happen.


Allow your breakup scene to happen at the top of a ferris wheel. Move your argument about dirty dishes to midnight mass, or allow your drunken binge to happen in a nursery school, and suddenly you transform a scene that feels cliché into one that feels fresh and exciting.
I’m reminded of a student who wrote his very first scene in my Write Your Screenplay class. It was a lovers’ quarrel, taking place in the bedroom as the couple got dressed. And it read pretty much like every other lovers’ quarrel. I suggested that he change the location, and he came back next class with one of the most hilarious scenes I’ve ever read. And the dialogue was exactly the same.
All he’d done was switch the location, from the bedroom, to a skydiving lesson. The characters were delivering the same lines to each other, but they were doing so as they plummeted toward the earth. The result not only made us laugh—but also made us recognize just how bad things actually were between them, because they were still discussing it, even in this totally ridiculous situation.

 

Location forces your character to do something interesting.

 



One of the big problems many writers have is that their characters aren’t doing anything. They stand around posed, delivering their lines, or doing their normal routine. But when you allow them to interact with a new location, they suddenly start to do fun stuff that roots your scene in action, and creates those movie moments that people can really connect to.
Remember the scene from When Harry Met Sally, when they’re “doing the wave” at the ballpark? Set this scene in any other location, and it’s going to be one of the most boring scenes in history. It’s purely exposition: Billy Crystal catching his friend up on his breakup with his ex-wife. There’s no conflict, and in the lines themselves there’s not so much comedy.
But watching the two of them seamlessly continue their conversation, standing and sitting to do the wave each time it comes around to them, transforms this scene into one of the most memorable scenes in the whole movie.

The Truth About Awesome Dialogue..

by Jacob Krueger 
 
Just Because Your Character Says Something Doesn’t Make It Dialogue.

 

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Dialogue can be one of the most daunting aspects of writing for many screenwriters. It’s easy to become so obsessed with how an audience is perceiving your dialogue (is it believable, memorable, original, unique to our characters, realistic and compelling enough to captivate an audience) that you entirely forget to ask the most important questions:

What is dialogue? And what is it supposed to do in your screenplay?

I’m about to say something radical: just because your character SAYS something doesn’t make it dialogue.
Real dialogue, good dialogue (and the kind of dialogue you actually want in your screenplay) is distinguished from all the other stuff your character says by one simple quality…

Dialogue is just another way of getting what a character wants.

Your characters are just like you. When they talk, they’re doing it for a reason, whether they are conscious of that reason or not.
There’s no such thing as “just talk” in movies, or in life. And though that idea may seem counterintuitive at first, think about a recent social situation where you were “just talking” and you’ll probably be surprised to realize how many hidden wants were happening just under the surface, things you were trying to get from the person you were talking to: approval, congratulations, laughs, sympathy, compassion, protection, encouragement, excitement, thrills, sex, status, a free drink, a friendly smile.

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And guess what? The person you were “just talking” with had a similar symphony of wants playing in their mind, the whole time they were talking to you, adding complex, barely perceptible conflicts to the scene that infused it with a certain feeling, and a certain reality.
When dialogue gets separated from the wants that motivate it, it’s almost impossible to make it feel authentic.

The reason most writers have such a hard time writing dialogue is because what they’re really trying to write is not dialogue, but simply talk.



Rather than listening to the complex symphony of their character’s wants, writers find themselves obsessing over the characters individual words and the way they’ll be perceived by an audience.
When you write dialogue in this way, there’s no drive or structure to it. Your dialogue isn’t actually doing anything. And more importantly, it’s not reflecting anything in the real world. That means the burden falls upon you, as the writer, to turn in the perfect virtuoso performance, in order to pass off a false product as a real one. And even if you succeed, unless you have a marvelous gift, you’re going to have to work your butt off for every word.
It’s like attending a concert at Carnegie Hall and listening only to a single violin. No matter how well executed the performance may be, it can’t help but sound a little tinny and false when divorced from the broader context of the symphony.
And heaven forbid a single chord be misplayed or a mistake be made in this context. Rather than being absorbed, or providing an interesting complement to the larger soundscape, it suddenly becomes an object of fixation for the writer, cutting them off from their creative impulses and from their natural talents.

Once you learn that your characters are using their words to get something from another character, the character starts to do most of the heavy lifting for you.

Rather than fixating on the words of the character (and your fear of being judged for how you write them), you can instead allow yourself to tap into the complex symphony of your character’s desires, allowing yourself to play around with the different ways your character can use their words to get what they want, in ways that are unique to that character.
Now, when you first set out to write a scene, the words themselves no longer need to be perfect, because you’re building around the deeper intentions that drive them, following your instincts and listening to the instincts of your character, focusing on what the characters are doing with their words, rather than what they are saying.
As you then work into later drafts, it becomes much easier to hone and refine your dialogue, and to separate the lines you need (the ones that pursue a want in a way that’s unique to that character) from the ones you don’t.

Tap into the symphony, without micromanaging the conductor!

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It’s important to remember that just like you, your character may not always be consciously aware of their wants. And if you get super literal about analyzing every want before you even start to write, you may find that it’s just as much of an impediment to your writing as not thinking about the want at all.
Instead, I’d encourage you to keep your characters’ big wants (or at least the ones they are consciously aware of in the scene) somewhere in the back of your mind. And then allow yourself to play, enjoying the different tactics they use as they attempt to achieve those wants, and allowing your subconscious impulses to guide you.
You can then work back into the dialogue you have written, eliminating dialogue that doesn’t relate to the character’s desire, and getting more specific with the dialogue that does.