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Emillions

Emillions  >  How to write Novels and Screenplays

Sofia, Bulgaria
 
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Characters

Psst! Wanna hear a secret? The people in most stories aren t really humans -they re robots! Real people are quite accidental, the result of a random jumbling of genes and a chaotic life. But story people are made to order to do a specific job. In other words, robots! I can hear some of you pooh-poohing this notion, but it s not my... More

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Pub. on March 9th 2010

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Plotting as organic

A discussion on plotting a novel as an organic writer. . . by Wen Spencer I m very organic and messy and usually throw away as much as I keep. Generally, I start with a very general outline. The most important points of this outline is the start and the finish. Without an ending in sight, its impossible to stay on course. I also... More

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How to format your screenplay like a pro

How to Format Your Screenplay Like a Pro by Robert Gregory-Browne Introduction Proper screenplay format is one of those things that seems to stymie novice screenwriters. Little do they know that it never was and never will be an exact science. Over the past several years, I ve spent a lot of time on the web, in newsgroups, and on... More

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Bradbury, Ray - Zen in the Art of Writing

A NOTE ABOUT THE AUTHOR Ray Bradbury has published some twenty-seven books—novels, stories, plays, essays, and poems—since his first story appeared when he was twenty years old. He began writing for the movies in 1952—with the script for his own Beast from 20,000 Fathoms. The next year he wrote the screenplays for It Came from... More

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Lukacs, georg - the theory of the novel

The Theory of The Novel A historico-philosophical essay on the forms of great epic literature By GEORG LUKÁCS TRANSLATED FROM THE GERMAN BY ANNA BOSTOCK (c) Hermann Luchterhand Verlag GmbH 1963 Translation © The Merlin Press 1971 First published by P. Cassirer, Berlin, 1920 This edition first published by The Merlin Press Ltd. , 3... More

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Filling holes

Filling holes So as I write, I leave holes behind. I can t think of an exciting way of doing something. Or I m not sure how to get where I want to go in the story because I m not totally sure where I am going. I skip over that part and come back later to it, once I know where I m going. Here s a bunch of little fills and slight... More

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Romantic comedy writing secrets

Romantic Comedy Writing Secrets by William Bill Mernit If creating a successful romantic comedy really was as easy as plugging a couple of stars into a standard boymeets-girl, boy-loses- girl, boy-gets-girl structure, the market would be glutted with genuinely funny romantic comedies. But can you remember the last truly great... More

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Advice on novel writing

Advice on Novel Writing by Crawford Kilian 1. Foreword by the Author 2. Developing Efficient Work Habits 3. Elements Of A Successful Story • In the opening. . . • In the body of the story. . . • In the conclusion. . . • Throughout the story. . . 4. Style: Checklist For Fiction Writers 5. Manuscript Format 6.... More

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Koontz, Dean - Writing popular fiction

WRITING POPULAR FICTION BY DEAN R. KOONTZ WRITER S DIGEST • CINCINNATI

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Color coding the plot

Color Coding the plot Someone asked if I ever use color codes on my plotlines. Usually I don t do this until I m deep into the story and deep into trouble. I write what s been described as twisty plots, which results in lots of little loose ends that all need threaded through the entire novel. I color code out the plotline on a... More

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Plotting

Plotting by Wen Spencer I marvel that anyone can tell plot out a novel in push. To me, plotting a novel is a lot like making stew in someone else’s kitchen without a recipe. You’re not sure what is going to go into the pot, so you do a lot of improvising and tasting. My original plot of Tinker 2 ran like this: Tinker discovers... More

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How to write good

How To Write Good We don t know where this came from, but some is derived from William Safire s Rules for Writers 1. Always avoid alliteration. 2. Prepositions are not words to end sentences with. 3. Avoid cliches like the plague--they re old hat. 4. Employ the vernacular. 5. Eschew ampersands & abbreviations, etc. 6.... More

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Building tension

Building tension by Wen Spencer I was just going to introduce the monster with “something hit Tinker” but then I thought it would be best to build the tension by having the “something is near” and lead, step by step up to the monster’s attack. Giving the bodyguards foresight worked well, especially making it seem that some... More

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Making good characters

Making Good Characters by Wen Spencer A member of Forward Motion asked: What makes a good character, one that is interesting to read. I took this to mean "want makes a strong, memorable" character. I have found that characters that are done in bold strokes are the best. Not to say over the top, so goody goody or straight evil with... More

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Fixing as you go

Fixing as you go by Wen Spencer A question on file management triggered someone to comment that in their first draft, they don t worry about those little red and green lines under their words that indicate that things are spelled wrong or not correct grammar. I posted the following words of caution that boil down to this: been there,... More

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Rpg - writing good scenarios

Writing Good Scenarios Writing RPGA adventures, or in fact any roleplaying adventures, is not always an easy thing to do. It may look simple, but the difficulties come in the execution. This document will try to help you through the difficult parts, and give you some tips on things to do and things not to do. First, some terms. A... More

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Against a rhetoric f the unspeakable in holocaust writing

Rethinking “After Auschwitz”: Against a Rhetoric of the Unspeakable in Holocaust Writing Naomi Mandel 1. Just What Part of “Auschwitz” Don’t We Understand? When Theodor Adorno situated contemporary culture “after Auschwitz,” he coined a phrase that has been accumulating significance and intensity as this culture moves on... More

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Kress, Nancy - Beginnings, Middles & Ends

BEGINNINGS, MIDDLES AND ENDS

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