It’s my pleasure today to be able to interview JS Mayank, who is not only a screenwriter, but also a director and producer of films in the wild and crazy world of Hollywood. Originally from England, Mayank has been in the screenwriting world for more than a decade and seems to thrive in the world of film making. He currently has four films to his credit, and his short film SOMEDAY just premiered in New York last month. Please help me welcome him as he shares some of his thoughts and screenwriting and film making experiences with us today.
Kaye: When did you know you wanted to be a screenwriter?
JS: I knew I wanted to be a writer when I was two and a half. I would draw pictures and then get my parents, grandparents, or any other grown up to write it down– dictating corresponding stories to go along with the drawings. So I’ve always been a storyteller. But for screenwriting specifically, I remember I was in highschool (in India), when I came across the screenplay for THE SIXTH SENSE. It was the first script I had ever seen, and I read it before seeing the movie. When I finally watched the film, I was astounded by how closely it mimicked what I had read on the page. That was a moment of epiphany for me, and I fell in love with the medium.
Kaye: Would you briefly share the story of your own screenwriting journey? How did you go from writing your first screenplay to becoming not only a screenwriter, but a director and producer as well?
JS: Wow. That’s quite the sprawling canvas. I suppose the short version is – I always loved movies and TV. I was obsessed with Hollywood filmmaking in particular. After my undergraduate degree in Economics, I decided to take a year to work with a not-for-profit organization in India, where my boss was making documentaries for the UN, WHO, UNESCO etc. That’s where I fell in love with the form. From there, I came to the US, did a Masters in Communication at Wake Forest University (NC) – finishing the two year course in one year, and taking the second year to just watch movies. I saw over 1500 films in one year. It was the most intense education ever. After that, I got into the MFA program for Directing and production at Loyola Marymount University (CA), and moved to LA. That’s where I trained in the actual craft of directing and producing.
Kaye: What is the working title of your next movie?
JS: The Dead Wives Club – it’s a British dramedy.
Kaye: Which screenwriter, dead or alive, would you love to have lunch with?
JS: A few years ago, I would have said Damon Lindelof (the creator of LOST/THE LEFTOVERS), but he’s now my mentor, and I can already do that. I think I’d like to go with someone who’s not alive. Probably my favorite female screenwriter – Nora Ephron!
Kaye: What is the biggest challenge of being a screenwriter?
JS: I suppose it’s the same as the challenges of trying to make a living as any other kind of writer. Self doubt. Procrastination. Crippling self doubt. Lack of certainty. No job security. Did I mention debilitating self doubt?
Kaye: What’s the most fun part of writing a screenplay? What’s the least fun part?
JS: To me, breaking the story – creating the world, characters, scenarios – that initial spark of the idea is the biggest rush ever! Pure creativity. I suppose, rewriting is the least fun – though absolutely one of the most important parts of the process.
Kaye: What is the most important quality in a screenplay for you?
JS: Voice. A writer’s unique expression. The way they see the world. Quentin Tarantino is totally different from Nancy Meyers, who’s completely separate from Diablo Cody, who’s miles apart from Donald Glover.
Kaye: As a screenwriter, what kind of research do you find yourself doing for your stories?
JS: When I’m writing a script, I immerse myself into every aspect of that world. There’s a TV project I’m developing that I’ve been researching for almost 10 years. Others, I’ll talk to experts, read books, watch documentaries… whatever it takes. I love learning, so research is actually one of my favorite aspects of the job. Sometimes I feel like I enjoy research more than writing… But that’s probably just because I’m procrastinating.
Kaye: Your movie SOMEDAY had its US premiere at the Dominican Film Festival in NY (DFFNY) on July 29th, and won best short there. Would you like to tell us a little about that movie?
JS: SOMEDAY started as a collaboration between an actress friend of mine (Katherine Castro), who said something interesting happened to her, and that it’d make a great movie. Usually when someone says that, it’s really not all that fascinating, but I’ve been a huge fan of hers, and so gave her the benefit of the doubt. When I heard the story, I absolutely knew it was a film. She had an encounter on a plane with someone who was very famous, and she had no idea. They simply conversed the entire way, and had an immense connection. I knew there was a story in there I wanted to tell. So I wrote it, sent her the script, and wished her the best with the project. A day later, she called me saying she loved it, and wanted me to direct it as well. It was a dream collaboration from start to finish.
SOMEDAY: Written & Directed by J S Mayank
Two strangers meet on a 14 hour non-stop flight from Sydney to Los Angeles. Adam is a world-famous composer, but Melody doesn’t recognize her flight companion. Along the way, they laugh, flirt and pour their hearts out… a connection made more beautiful precisely because of its fleeting nature.
Here’s a trailer for it: https://vimeo.com/268517195
Kaye: You are both a screenwriter and the director for Someday. Is there a secret to balancing the dual roles?
JS: Realizing that the script is just a blueprint. A template. A roadmap. Once I’m the director, I have to have a singular overarching vision for the movie, but also realize that I have a great team around me – cinematographer, production designer, costumer, VFX supervisor, editor, composer… and of course, my actors. Each of these collaborators bring their own expertise, ideas and opinions, and sometimes that demands alterations to the screenplay. My job as the director is to ensure each change is for the better.
Kaye: What’s it like to sit in a theater and watch the premier for a movie that you have created?
JS: Nerve-wracking, panic inducing, and absolutely one of the greatest feelings in the world. Seeing an audience reacting to your work is beyond words.
Kaye: What’s the best piece of advice you were ever given?
JS: Two pieces. First, from Bruce Cohen (producer of American Beauty, Big Fish):
“Always lead with your best foot forward. It’s good to be humble in your personal life. But for work, have a healthy sense of ego in what you do (as long as you have the goods to back it up).”
Second, from my mentor, Damon Lindelof (LOST, The Leftovers):
“Keep doing the work. It will save you every time.”
Kaye: What advice do you have for aspiring screenwriters?
JS: Write every day. Write what you’re passionate about. And don’t take no for an answer. Also, be kind (but that’s just general life advice).
Kaye: What is the one thing in your screenwriting career that is the most unusual or unique thing you’ve done so far?
JS: It’s a new project, and something that will probably take my career to the next level, but unfortunately, I can’t talk about it. I’m under an NDA. Keep a look-out for something in September, though.
Thank you JS. You’ve definitely piqued our interest. I know I can’t wait. I want to thank you for joining us here today on Writing to be Read. It’s been a pleasure to chat with you. You certainly offered some insight into the world of film making.
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As I mentioned in last week’s post, An Adventure in Book Marketing, I will be sitting as a panelist at Western’s Alumni Roundtable at the Writing the Rockies Conference in July. There I said that was my next experiment in marketing, but to be honest, although copies of Delilah will be available at the book fair, run by Crested Butte’s Townie Books, I’m not expecting my sales to suddenly shoot up off the charts. Writing conferences, as a general rule, are not places where you sell a lot of books, but I’m exciting to be going and representing Westerns M.F.A. in Creative Writing program, (I’m actually representing both of my concentrations, screenwriting and genre fiction), for other reasons. What writing conferences are generally good for is making connections within the writing community, and Writing the Rockies is no exception. It seems Western, or maybe even the Gunnison Valley is especially prolific in this area, because you begin to feel yourself being pulled in to fantastic world of writing and publishing as soon as you step onto the Western campus. And the connections I’ve made at Western and at the conference have been very useful to me in some unexpected and surprising ways. Never have I attended this conference without coming away with some valuable new connections, some of which have turned into long lasting friendships, as well.
This year, it looks like they’ve got a great line-up, including fantastic opera workshop performance of Lottie Silks, with music by Jay Parrotta and libretto by Western Poetry and Genre Fiction student Enid Holden, directed by Ben Makino and Andrew Sellon, to go along with their infamous and very intense poetry symposium. They also have some not to miss Keynote speakers lined –up: Mark Todd, author and founder of Western State’s M.F.A. in Creative Writing Program, for the conference Keynote; award winning poets Ned Balbo and Jane Satterfield for the poetry Keynote; Kevin J. Anderson, author of over 140 novels, publisher at WordFire Press and a member of Western’s M.F.A. program staff for the publishing Keynote; Patrick Pexton, former ombudsman for the Washington Post for the creative nonfiction Keynote; and Emmy Award winning screenwriter, John Bowman for the screenwriting Keynote; and Michaella Roessner, published author and M.F.A. program faculty for the genre fiction Keynote. Other presenters in the publishing track include Darrin Pratt, Editor of the University of Colorado Press and immediate past president of the Association of American University Presses, D.H. Tracy, Editor of Antilever Press, and others.
In addition to their always informative workshops, sessions and panels, pitch sessions and manuscript critiques are available, their annual hike above Crested Butte will take place, three day intensive workshops, and full day seminars. Special presentations of Comedy is Hard, by Mike Reiss, directed by William Spicer; and Multitudes: An Evening with Walt Whitman by Kim Nuzzo and Valerie Haugen Nuzzo. Film screenings including How Murray Saved Christmas, by Mike Reiss and the highlights from the Crested Butte Film Festival with festival co-director, Michael Brody will also be available.
As you can see, Writing the Rockies is a conference promises something for everyone. I’m excited to be a part of it and I hope you will join us. This is the 19th year running for this wonderful conference and it grows with each passing year. This year the conference will run from Wednesday, July 18th through Sunday, July 22nd. The cost is $300 for the entire five day event if you register before July 1, and $350 after that date. The good news is, although the conference is fully open to the public, every student of Western’s M.F.A. Program in Creative Writing goes as a part of the curriculum, and there are scholarships available for alumni, K12 educators, and Gunnison Valley residents, as well as anyone else who wishes to apply. You can sign up for the 2018 Writing the Rockies Conference or apply for scholarship here:
For more information contact:
David J. Rothman, Conference Director / 970-943-2058 / firstname.lastname@example.org
Mark Todd, Conference Coordinator / 970-943-2016 / email@example.com
Michelle Wilk, Office Support Coordinator / 970-943-2163 / firstname.lastname@example.org
On a similar note, Western State Colorado University still has a few spots open for their low-residency M.F.A. in Creative Writing Program, which begins in July. If you have an undergraduate degree and you’re interested in persuing a career in writing genre fiction, poetry or screenplays or a career in publishing, their program may be just what you’re looking for. Low-residency means you must attend physical class on campus for two weeks each summer and the rest of the courses are online. (Remember, if you’re in the program, you get to attend the Writing the Rockies Conference as a part of the curriculum.) Their faculty consists of successful published authors, successful screenwriters, and distinguished poets. Looking at the successes of myself and my fellow alumni, I have to say they offer useful skills and knowledge that can be applied in the writing industry.
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In last month’s memo I talked about ways you can use flashbacks in stories and it led to a discussion about flash forwards and a request from Kaye that I do a post about them, so I decided to focus on the difference between flashbacks and flash forwards. I’m going to primarily use films and TV shows for examples as the film/TV examples are easy to visually show what I mean.
(Disclaimer: I don’t own the rights to any of these video clips or shows. I apologize in advance for some of the quality of the clips but they were the only ones I could find at times. Many of these shows mentioned are on Netflix, so I recommend watching there if possible.)
A flashback is almost any moment when a story jumps from the present time of the story to show you something that happened in the past. It’s not just talking about the past, but actually showing the events that happened. The flashback can be just a quick glimpse, or it can be a very long section of the story.
Flashback Example 1 – The Usual Suspects:
This film opens with the explosion on the ship and then moves forward to Kevin Spacey in the police station being interviewed. When he starts telling the story of how all the “usual suspects” were rounded up the film flashes back to show this happening, and the story continues in the flashback time period until the end of the film when we return to Kevin Spacey in the police station again.
Flashback Example 2 – Forest Gump:
This one is pretty straightforward that it’s cutting to a flashback. Forest is in the present moment talking about things that happened in his past from his childhood to adulthood, and we constantly hear his voice over and see him in present day on the bench talking about his past.
Flashback Example 1 – Breaking Bad Season 1 Episode 1:
Again, we start in the present time where Walt is crashing the RV and already cooking meth, then we very clearly jump back after the opening credits several weeks in time to when he was a normal school teacher. The main story of this first episode is all flashback with the opening and ending being the present moments.
Flash forwards are tiny glimpses of the possible future within a story. Basically you get a glimpse of the future and then return to the present afterward. This future glimpse doesn’t have to be true, and it doesn’t HAVE to happen, it’s just a glimpse of what COULD happen and the audience has to keep watching to see if it does.
This technique is often used in stories involving anything with psychics. The key is the events haven’t happened yet, and may never happen depending on how the present continues to unfold. It’s a glimpse of the potential future, but the story is still taking place in the present day and will return to present day once the future glimpse is over.
Flash Forward Example 1 – The Dead Zone (film)
When Christopher Walken shakes Martin Sheen’s hand he gets a vision of the potential future. We see clips of what Martin Sheen may do, but we don’t know if it will happen or not because it hasn’t happened yet, all we know is that it’s possible to happen. Once the flash forward is over we return to the present moment where Christopher Walken is.
Flash Forward Example 2 – Scrooged:
When Bill Murray leaves the elevator he gets several glimpses of the possible future he will encounter if he doesn’t change his ways. Again, these are all brief flash forwards showing potential future moments. It’s a little different because it seems like Bill Murray is in the flash forwards, but he has no ability to change them while he’s there so it’s still a flash forward to a potential future if he doesn’t change his ways in the present.
Flash Forward Example 3 – Terminator 2
When she lays her head down, Sarah Connor has a dream vision of the future if machines are allowed to get out of control. This vision is a potential future and is the motivation for her to try to stop this outcome with her actions in the present.
Flash Forward Example 4 – FlashForward TV Show Season 1 Episode 1:
This episode actually has a flash forward AND a flashback in it. I’ve started this clip right before the flash forward moment where the protagonist gets a glimpse of his future and then wakes up after the accident, but if you scroll back to the very opening of the episode you’ll see that the story starts with the accident, then there is a flashback to 4 hours earlier leading up to the accident again to show what caused it (which was actually the flash forward). Are you confused? I know, it’s a lot.
The flash forward is the glimpse of the potential future that the main character may experience at some point later on, and then you return to the present moment. The opening sequence at the start that shows the accident is NOT technically a flash forward because it’s not a glimpse of the future, it’s where the story is NOW. Then we flashback to 4 hour earlier to see how we got there and how the accident happened.
Flash Forward Example 5 – Sherlock Holmes (film)
This fight scene is a type of micro flash forward because it tells us what will happen moments before it does, even though it’s in verbal form. It’s more of an abbreviated flash forward because it’s verbal and it’s similar to how flash forwards are often used in fiction. The narrator gives the reader a glimpse of what will be to come, but we’re still in the present moment of the story where it hasn’t actually happened yet.
Distinguishing Between the Two:
Most of the time it’s pretty easy to tell whether something is a flashback or a flash forward because it’s in the middle of the story and the story either jumps forward or back for a short time before returning to the present. However, the one area that seems to cause the most confusion is when the flashback or flash forward is used immediately at the opening of a story. Is the story starting in a flash forward? Is the main story all in flashback? What is happening? To figure out whether you’re seeing a flashback or a flash forward, think about where the scene is currently taking place and where the protagonist is in the present.
If you look at the openings of Forest Gump and Breaking Bad, both are happening as we watch and we’re not seeing a future possible event, we’re seeing the events as they happen to the protagonist, then we (the audience) jump back to see how the protagonist got to that present moment, but all of it has already happened and the protagonist is still in the present at that opening scene waiting for us to catch up to him.
Flash forward scenes are events that have NOT happened yet, and may not happen, and when they end we are returned to the present moment where the story is taking place and the protagonist is currently. Everything between that present moment and the future event we saw has not happened yet, and may not happen, but that is why we’re watching to find out. The present moment may eventually lead to that flash forward moment, but there’s no guarantee.
One of the few times a show can open with a flash forward is if it opens with a psychic event such as a dream or prophecy where we get a glimpse of what may or may not happen before a character pops awake or something and reveals it all was a vision or dream. Then the rest of the show builds to reveal whether it is something that is going to happen or not.
Neither Flashbacks nor Flash forwards:
There are a few other story methods that some people confuse with flash forwards and flashbacks but one of the main ones I want to mention is time travel such as in the Back to the Future Series. This and other time travel stories are tricky areas because it is easy to say we’re flashing back because we’re going back in time, but that’s not true in most stories I can think of.
A flashback involves looking back at past events that have already happened exactly as the person remembers them happening, while most time travel stories involve a character physically going back to these past events such as Marty does, and having influence on those events. This makes it not a flashback because Marty has the ability to change things if he does something wrong. That means the events aren’t set and aren’t just a memory of what happened, they’re fluid and changing. Flashbacks are memories of what happened prior to the present so they can’t be changed unless someone is misremembering something or lying. Marty is physically there and it’s his present time even if he’s physically living in the past, and he can make mistakes (and does) that change the future, so it’s not a flashback.
The other thing I wanted to point out is that just because a story goes forward in time doesn’t mean it’s a flash forward. A flash forward is a glimpse into the future but it doesn’t move the story TO the future. When your story jumps forward in time to a future point, if the story continues from that point on and isn’t just a glimpse of that future time, then what you have is a forward time jump and not a flash forward.
Every now and then you’ll see someone define those opening scene moments where we start the story at a major event as a flash forward because it shows a “future” event and then immediately goes back in time after to where a huge chunk of the story takes place. But these stories that start with a major event and then go back in time almost always say something like “x time earlier” which establishes that the first scene is the present time period and everything afterward is in the past, making everything after that opening scene a flashback.
Ultimately, if you’re asking “what happened to get us here?” then you’re probably about to see a flashback to find out. However, if you’re asking “what WILL happen to get us here?” then you’re watching a flash forward and you will return to the present to find out as events unfold.
Flashbacks are something that go in and out of style as time passes. For a time you’ll see them used left and right in books and films, and it’ll feel like they’re everywhere. Then someone, somewhere, decides they’re forbidden and amateurish and you’ll hear whispers about how you should never use a flashback and they’re “lazy writing.”
In reality, what happens is the same thing that happens with any other writing technique. Someone uses it incredibly well and then a crop of other writers pop up and use the same technique with a hit or miss result. Eventually it becomes overused, and often poorly used, and people begin dreading seeing the writing technique because they’ve seen it done so poorly so often. Then someone uses it amazingly well again and the cycle starts over.
So when it comes to flashbacks, when can you use them, and more importantly, how can you use them well?
If your story has a lot of groundwork to lay such as character development or world development, it can often be useful to open with a flashback scenario. If your story really starts with a key event sometime in the past, but then nothing happens for 20 years, then again, starting with a flashback might be useful. A recent example of this is “Guardians of the Galaxy Vol. 2”. It starts with a flashback on Earth. It’s not a particularly eventful scene, but it lays the foundation for a huge plot reveal later on and sets the tone for what this movie will be about – Quill’s dad. If you’re going to start with a flashback, or start in the present and then use a flashback for the crux of the story, then there are a few key reasons to do so.
- You have a slow opening and need to create tension to buy yourself time with the audience and create suspense. A lot of horror movies do this option to build suspense. Start with a big murder and then everything is calm for 20 minutes until the murderer returns. It creates suspense and puts the audience on edge, waiting for the next attack that could come at any moment.
- A major event happens far in the past and you need to establish it in order to set the tone or plot for the story to come. A lot of fantasy and science fiction stories do something like this for world building to show how we got to the world we have today. Sometimes it comes in flashback with a voice over summary (like “Lord of the Rings” talking about the Ring’s history in the beginning).
- A character defining moment happened in the past and it directly ties to what your story is about. A lot of these kinds of flashbacks are used in dramas where something major happens when the protagonist is a kid – maybe a key phrase is said to them – and then as an adult they are learning the truth of that phrase.
Another common use of flashbacks is to reveal memories of the protagonist. These can be recent or distant memories, but they usually have some relation to the plot or character development the protagonist is dealing with. Some examples include:
- The character meets someone they knew in the past and had a major event or experience with. An example of this is when a grown up individual meets their childhood bully and we see a scene of how the two interacted. Another could be if you have a protagonist gathering a group together. You might see flashbacks that establish the relationship with each of the group or their skills (like in many military or action movies when a group is brought together). The purpose of this type of memory flashback is to establish the new person’s character quickly, as well as often to establish that character’s relationship with the protagonist.
- A major event from the present connects with a major event from the past for the protagonist. An example of this is, let’s say, if a character discovers a family secret they might see flashbacks of all the things they saw as a child that didn’t make sense suddenly be given new meaning with this secret revealed. If you’ve seen those short YouTube videos going around Facebook where the son discovers the father he thought was lazy and poor was doing something special all those years that the son didn’t know about, it’s a great example of this. Once the son discovers the father’s secret, we see flashbacks that put everything the son saw in context.
- Another example of the memory from the past connecting to the present can be if something from the past is the foundation for a character – such as life advice they were told or something. Many times you’ll find in films and movies the character hears a phrase when they’re young that they didn’t completely understand and then during the film while they’re older something happens that makes them understand this. Often you’ll see a flashback in the film or story showing you the character receiving this advice.
One of the most common uses for flashbacks is in mystery or suspense type movie and stories. In these stories it is imperative to create suspense and leave questions unanswered for a time. There are numerous ways flashbacks are used in mystery stories, but a few include:
- Evidence reveals where the protagonist or another character finds the evidence that is involved in the crime and the audience gets a flashback of how the evidence is related to the crime.
- The bad guy reveal. Often times once the bad guy is discovered there is a reveal that shows him committing the crime and how he got away with it, as well as numerous dishonest or secretive things the bad guy has done since then.
- The detective reveal. This is a common trick used in stories like the TV show “Leverage” or many Sherlock Holmes stories where there is a reveal to show how the con artist or Detective pieced everything together. In “Leverage” it is used to show how the team managed to make the bad guy think he was winning when the crew had the upper hand the whole time. In Detective stories it’s used to show the moment the detective found each key piece of evidence that led them to their brilliant conclusion at the end, which solved the crime.
The key with any flashback used is that it’s 100% necessary for the story. If you could remove the flashback and the tone, character, and plot doesn’t change in the story, then it’s probably unnecessary. If you can show the events that span between the flashback and present in the story, and they add to the story, then it probably shouldn’t be a flashback and should just be part of the story.
Whenever you’re considering using a flashback, just ask yourself what it adds to the plot, character, and tone of the story and make your decision from there. Does it add tension? Does it put your audience in suspense so you can slow things down before a big event? Does it develop your character in a way that can’t be done otherwise? Does it lay foundation for the plot to come? Or does the flashback add unnecessary length and detail to the story? As long as you’ve analyzed your use of the flashback properly, and you’re positive it serves a purpose, then you should be okay to use one. But as with anything else, use them sparingly and deliberately.
Robin Conley offers great writing advice in her Monthly Memo on Writing to be Read. If you just can’t wait until next month to find out more, you can pop into her blog, Author the World, for more tips, or a weekly writing prompt.
Sometimes the hardest part of writing a story is taking the outlined idea and turning it into words on the page. It’s great to know that X and Y need to happen, but how do you make them happen in writing? How do you take that character and bring him to life? How do you take that villain and make her fun yet terrifying? How do you unravel those conflicts in words? There are a lot of different methods for bringing a story to life, but here are the few that I find help me the most when moving from the outline, to the page.
Before I begin writing a character I spend some time figuring out at least 3-4 concrete details about his or her personality. I think about their dominant personality trait that people see, their core moral value that guides most of their decisions, and a personality trait that they have that’s a flaw. I also sometimes figure out a minor personality trait that most people may not notice, but it’s a core part of who that character is. Beyond that, I like to find one physical trait I see very clearly to help me visualize the character, and I like to understand at least one solid relationship they have with someone, be it family or friend. The other two things I think you should figure out is what the characters main goal in life is, and perhaps what they’re afraid of.
I think these core details give you enough that you can easily visualize the character and write them well without having to figure out every last ounce of the characters life. These details give you an overall sense of who they are, and as you work out more while writing you can develop the character more clearly. If you need to do more to figure out the character in order to write them, try doing a free-write so you can ease yourself into the character’s voice. If you write 3-5 pages in your character’s voice, you’ll learn a lot about them and find it easier to write the character’s voice for the story.
To get your setting from outline to page, I think the important thing is to ask yourself what’s important about the setting. What about it is vital to your story? Why does the story need to take place in that specific spot? If you know these details then you know what elements of your setting to emphasize in your story. The more important a detail is, the more you want to describe it unless you’re trying to keep it subtle for some sort of plot reveal. At the very least, when writing a setting I feel you should give enough detail about it to help create a solid visual image in your reader’s head. You want them to be able to visualize where the characters are, how they’re moving throughout the scene, and why we’re in that specific place.
The hardest part of taking your outline and bringing it to the page in my opinion is how to portray the plot. You have your outline that says “Amy goes to the park. Amy runs into Ryan. They fight. Amy leaves upset.” If you write it that way, that’s an incredibly short story and has no real depth or development. So how do you write that short sequence of events and make it interesting? What parts do you expand on and what do you rush through?
For the first step in your outline “Amy goes to the park,” you want to show Amy’s mindset, give a sense of the setting, and establish some form of a goal for why she’s going to the park. Is she meeting someone? Is she trying to find some privacy? Does she have a kid she’s taking to play? Set the tone of the scene, and choose your tone with the thought of how it will change in the upcoming scenes in mind. Then as you go to the next scene, “Amy runs into Ryan,” start thinking about the implications of that scene. How does meeting Ryan change Amy’s mood? How does their interaction start? How do they meet up? On purpose or accidentally?
As you go into the final scenes, “They fight, and Amy leaves upset,” start to think about how to transition there as well. What upsets Amy? How quickly does she leave? What’s the environment around them look like? The questions can go on forever, but it’s important to focus on things that involve the tone, the setting, the characters, and the sequence of events.
If you’re really struggling to transfer your story from outline to page, remind yourself that a story isn’t just about action and a sequence of events. The details you bring out in the story will help take your story from an outline of X and Y happens, to something that has depth and is fun to read. So explore the layers of your story and try to bring them out. Remember, it’s often easier to remove details if you put too much rather than trying to add more later on. So write and explore, and see what kind of story evolves.
Robin Conley offers great writing advice in her Monthly Memo on Writing to be Read. If you just can’t wait until next month to find out more, you can pop into her blog, Author the World, for more tips, or a weekly writing prompt.
This past week my thesis for my screenwriting emphasis arrived in the mail. I opened the box and there, carefully wrapped inside was my thesis project bound in a hardback cover. I opened it up, and inside I found my analysis of screenwriting and my walk through the process, as well as my screenplay for Bonnie in script form. I can’t tell you what a sense of accomplishment that made me feel.
If you’re interested in my analysis or the screenwriting process, you can see the blog adapted version of those portions of my thesis in my four part series, The Making of a Screenplay: The Creative Process: Part 1 covers story origins and the tools used to shape an idea into a movie plot, Part 2 discusses the tools used to sell a screenplay, Part 3 covers the research that goes into writing a screenplay, and Part 4 talks about rewriting.
I turned in my thesis back in August, and there was a sense of accomplishment in doing that, but to see my script in print just about made me burst with pride. Glancing through it reminded me of what a really good script Bonnie is. Now I just have to figure out a way to get it in front of someone who will read it and fall in love with it as much as I am, and want to make it into a movie.
That’s the hard part. There’s some tough competition out there and it’s hard to get a foot in the door. Bonnie has commercial value and I need to get someone in the business to recognize it,There are those who claim it can’t be done unless you move to L.A. (“Hollywood Game Plan” Prepares Upcoming Screenwriters to Hit the Ground Running) Although I really want to sell Bonnie, and many other screenplays, I don’t see such a drastic move happening in the near future.
Most of the screenplay competitions are a bit more expensive to enter than my pocketbook can afford, so I have to be careful to pick the contest that are the best for my screenplay. In the literary community, you face the same challenge. You must determine which publisher is best to submit to, matching your work to a publisher, agent or writing contest.
The only way I know to solve the puzzle and match story or script to contest, or find a publisher or a producer who might be interested in your work, is good old fashioned research. These days it’s easier. Because of the Internet, we have the information at our fingertips now, where we didn’t thirty years ago. To find the right contest, or publisher, or producer today, we can sit down at the computer or pick up our phones and find out what kinds of work they are interested in to see if ours is a good fit, or check out their track record to gauge how successful they are. All it takes is a little time.
I’ve entered a short screenplay in a screenplay contest, and submitted a couple of my scripts to production companies, and I’ve collected a few rejection slips from them. I was almost ready to give up on the screenwriting and concentrate exclusively on my fiction. Even though I know rejection is expected in this business, and a lot of it, it doesn’t make the sting any less when it happens. On Jeff’s God Complex Wednesday, he offers some really good ideas that make sticking with it in the face of adversity much easier. I took it and felt refreshed when I sat back down in front of my laptop again.
Receiving that bound copy and seeing my thesis script reminded me of why I went for the second emphasis in my degree. I am just as passionate about my screenwriting as I am about my fiction. I know my work is good and it’s only a matter of time before I sell a script or a book. I’m currently negotiating a contract for my western novel, Delilah, so I’m not just being optimistic here. It’s is easier to move forward in my career when I have a real sense of accomplishment, and my bound thesis reminded me of that.
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How do you find the time to write?
Can you be a writer when you have a full-time job?
Or a family?
I have a brilliant story idea but I’m just so busy…
The above are all questions are just a few ways people have essentially asked me “how can I be a writer if I don’t have time?” Every time I hear it I have a mixed reaction. I like it because it shows that these people understand that writing is a craft that takes time and work and dedication. It shows they respect that it doesn’t just magically happen. As a writer, I appreciate that because many, many people think writers just throw some words on a page, easy as pie.
On the other hand, I absolutely abhor the question. The reason I dislike it is because writing is like anything else someone wants to do, if they really want to do it they find the time. There’s no magical secret to how writers find time to write, they just make it happen.
That being said, I know some people will still want ideas for finding time to write, so here are some ways I find time to write when I am slammed with other life responsibilities:
If you really want to write, then you’re going to have to find the time elsewhere. If you don’t want to cut back on work, hobbies, free time, etc., then your other option is to cut back on sleep. Either get up an hour earlier, or go to bed an hour later, and use that time to write. You don’t have to do it every day, even an hour a week will add up in the long-term. The point is, the time has to come from somewhere and sleep is something everyone can cut back on now and then without too much consequence. So pick a day a week to try it and go from there.
Can you eat lunch and type at the same time? How about when you’re watching a movie or listening to music? Can you talk while you do household chores? What about when you’re driving or hiking or whatever your hobby is? When I’m on long road trips I use a tape recorder to plot and outline, develop characters, and sometimes even write a few pages. You can do this while out and about doing things like hiking and such as well. I know several authors who do this, and some even send the audio out to be transcribed for them to make things easier. It takes some adjustment to get used to writing in this fashion, and it’s not always your best writing, but getting something down on the page so that the next time you have a break you can revise it makes for better progress than not writing at all.
Every Spare Minute
Basically, this is the main option. Every spare minute you have you try to write. Even if it’s just you wake up in the morning and jot a line down, take a shower, jot another line, eat breakfast, jot a line, go to work, jot a line a lunch, work some more and jot a line again a dinner and before bed. If you do that all day you should at least have a paragraph if not a whole page. Writing is done one word at a time, and while it’s not the most efficient method for writing, the little lines add up throughout the days/weeks/months and before you know it you’ll have a finished piece of work. So anytime you can add another word, sentence, paragraph, and so on, you should.
I know the above advice is nothing brilliant or even particularly new, but sometimes as writers we all need reminders that if we want to write, we have to find time for ourselves. There’s no magic secret or perfect writing opportunity that’s going to appear in your schedule. You use the time you have, any way you can, using any medium available, to get words on the page. Yes, it may not be efficient or look anything like the “dream writer’s life” but you’ll be writing, and you can’t be a writer if you don’t write.
Robin Conley offers great writing advice in her Monthly Memo on Writing to be Read. If you just can’t wait until next month to find out more, you can pop into her blog, Author the World, for more tips, or a weekly writing prompt.
Since this month’s memo date falls near Valentine’s Day, I thought I’d write about how to pick your protagonist’s love interest for a story. I find you can’t always decide on the dynamic between a couple until you write out their first meeting. So with that in mind, here is how I go about doing that.
To start, we need to first pick your core protagonist. If you have one in mind, that’s great, skip to Step Two below. If not, begin at Step One.
Step One: Pick your protagonist.
An easy way I find to create a core protagonist when I’m really struggling is to think of three people I know. Then I think of a prominent personality trait for each of them.
Person 1: Talks too much, and rambles.
Person 2: Is obsessed with dogs.
Person 3: Is always negative.
Try to pick traits that don’t overshadow each other. So don’t pick traits like one loves cats and the other loves dogs. Once you have the three traits, combine them to create the partial personality for your new protagonist. Using those traits as a jumping point, come up with other details about the character you are creating. Male or female? Age range? Occupation?
For mine, we’ll say it’s a female, who is a vet, and who is in her late 20s.
Keep expanding the details of your protagonist until you feel like you have a good general idea of who they are.
Step Two: Find the love interest.
If you already have a protagonist in mind, make sure you can describe them as if they were one of your friends you’ve known for years. What’s their hobby, what’s their job, what’s their secret wish, what’s their favorite thing in the world, and what’s their biggest pet peeve? You should be able to at least answer the above questions, but preferably much, much more.
Once you have the general idea of the protagonist, it’s time to find their love interest. Whenever I have to find a love interest, I always make a list of the places my character is most likely to be because these are the places the love interest is most likely to be found.
For my example: My character is most likely to be in her vet’s office, at home, or maybe volunteering at an animal shelter. So the place she’s most likely to meet her future love interest is in one of those places. Let’s go with at the Vet’s office.
Once you choose where they may meet, then it’s time to choose who the love interest is. What kind of person would go to that place? For mine, it’s clearly going to be a pet owner, or maybe a vendor selling vet supplies, or even a coworker. I chose the easy one, pet owner.
Now go through the character building questions again – what does this love interest look like? What do the like to do? Why are they at this place interacting with your protagonist? Do they share any of the same personality traits as your protagonist? Do they starkly contrast to any traits? I usually like to have one strong thing that the two characters connect with (for mine, a love of animals), and then I have two or three things they can disagree on and fight over (for mine, attitude and the proper treatment for the pet).
Step Three: The first interaction.
The key to every love story, in my opinion, is the first interaction. In general, I find that love story first meetings go one of three ways: either the couple feels an instant spark, they instantly hate each other, or they barely notice each other at all except mild acknowledgment. So decide which of the three ways your meeting is going to go.
If they’re going to get along, decide what they instantly connect on and go with it. Write the scene and let try to make it last a few pages in the first draft. Show the strength of their immediate connection. Is it just physical, or is it mental, or both? Do they plan to meet again? Or never again? Explore the scene and free write a bit, you can cut it down later.
If they’re going to fight, then what is it that’s going to make them hate each other? Since my protagonist is always negative, I think it would work best if she and the pet owner get in a fight initially. She wants him to treat his dog with a specific medicine, but he’s adamant that he wants to treat the dog naturally. Whatever your characters are fighting about, write the scene.
It’s generally works better if they can both be somewhat right, because you want them both to be likable. So for mine, I wouldn’t make the illness for the dog anything serious, maybe something minor like fleas, and then the fight isn’t something that would make the owner, or the vet, unlikable.
If they’re barely going to notice each other, they still have to connect on some small scale so there is something to build their relationship on as the story progresses. So what is the small detail they’re each going to remember about each other? Do they both buy the same item in a store? Do they both do something kind for the same stranger without knowing it? Does something one does have a positive impact on the other somehow?
Write the scene and see what transpires between your protagonist and new love interest. Remember, you aren’t writing the entire relationship, you’re writing the first meeting. You want to leave room for their relationship to grow and develop. So make sure when the pair parts, there’s room for things to continue changing between them.
I really think the first meeting is the key to developing any relationship because it sets the tone for everything to come in the story for that couple. Once you have that first meeting right on paper, then you can build the rest of the relationship from there.
Until next month, happy writing!
This is the longest book review I have ever written. This book was so packed full of useful information for rising authors and screenwriters that I felt I needed to cover it all. If you are an upcoming horror author or screenwriter, trying to figure out how to get a foot in the door or where to start in the matter of launching your career, Horror 101: The Way Forward offers “career advice by seasoned professionals”. Different writers will find different essays useful, so I’m giving you a rundown on all the informative essays included.
Compiled by Crystal Lake Publishing, this collection of essays has something for every writer. The anthology features quotes from the masters such as Stephen King, Ray Bradbury, Isaac Asimov, J.R.R. Tolkien, Jack London, Clive Barker, H.P.Lovecraft, Edgar Allen Poe and many others. Advice from professional writers and editors covers all aspects of the horror writing business, and the business of writing, in general. From submitting your work, to marketing and promotion, to self-publishing and building your writing business, to crafting your work and the writing process.
The answers to many questions on the topic of submissions and all other aspects of writing as a business are found within its pages. Not getting positive response from your queries? First read Rejection Letters – How to Write and Respond to Them by award winning author Jason Bark, which offers an attempt to write a rejection letter that doesn’t sting, (at least, not so much). Then, flip to Seven Signs that Make Agents and Editors say “Yes!” to learn what agents and editors look for. Buttoning Up Before Dinner by horror author Gary Fry also offers advice to put you in the good graces of publishers and editors and create well-written stories.
Unsure how to submit your work? Submitting Your Work: Read the F*****g Guidelines by freelance writer and editor John Kenny offers tips for making a professional submission from an editor’s perspective. And What a Short Story Editor Does by horror, fantasy and science fiction editor Ellen Dallow explains the responsibilities of short story editor.
Looking for sound career advice? Be the Writer You Want to Be by television writer and novelist, Steven Savile recycles the best writing advice the author was ever given. The Five Laws of Arzen by award winning dark fiction author Michael A. Arzen offers hints to help you survive a writing career. How to Fail as an Artist in Ten Easy Steps: A Rough List Off the Top of My Head, by Confirmed Failure… by horror author John Palisano provides a reverse list of things you should do to be a successful writer.
Wondering if you need an agent to get your work in front of editors and publishers? Do You Need an Agent? by author Eric S. Brown is a discussion about the need, (or not), for an agent and relates the personal experience of how the author became successful without one. Also included are essays on building your writing business in Balancing Art and Commerce by author and screenwriter Taylor Grant , offering a look at various mediums one can write in and earn a living & advice in the business of writing. There are even essays offered on the lucrative business of ghostwriting, with a personal experience as a ghostwriter shared by dark fiction author Blaze McRob, and Ghostwriting: You Can’t Write it if You Can’t See It by award winning author Thomas Smith instructs on how to step into the author’s shoes and write like them.
If you are hoping to find some help muddling through the vast world of marketing and promotion, The Year After Publication by horror & thriller novelist Rena Mason offers an account of what to expect once you publish your first book and a walk through the exhaustive process of book marketing. How to be Your Own Agent, Whether You Have One or Not by horror writer, editor and publisher Joe Mynhardt offers tips for marketing your stories and yourself. Reviewing by founder of Ginger Nuts of Horror, (one of the most viewed resources in horror fiction), Jim McLeod discusses getting your book in the review pile & what the writer should do while awaiting publication of the review.
If you’ve not attended a conference or convention before, Pitch to Impress: How to Stand Out From the Convention Crowd by editor R.J. Cavender provides a guide to making a pitch that will snag agents’ and publishers’ attention. Tips for networking at conferences are offered by dark fiction author Tim Waggoner in You Better (Net)Work, and Networking at Conventions by Bram Stoker Award winning author Lucy A. Synder offers a look at the benefits conventions have to offer and a breakdown on some of the major ones for horror writers.
There is a plethora of advice offered on publishing, including a comparison of traditional publishing vs. digital publishing in Weighing Up Traditional Publishing and Ebook Publishing by award winning author Robert W. Walker; Publishing by editor and publisher Simon Marshall-Jones compares publishing in the digital arena with the way it was done in the past & how to become an independent publisher; and Glenn Rolle Toes the Line with Samhain Horror Head Hancho, Don D. Auria by Glenn Rolle with Interview that maps Auria’s rise to the top.
The arena of self-publishing is also explored in Make Your Own Dreams by horror and suspense novelist Iain Rob Wright. Besides being a plug for self-publishing’s evening of the playing table. It relates personal experience and advice for self-publishing, walking us through the self-publishing process. Self-Publishing: Thumb on the Button by author Kenneth W. Cain gives a list of things to think about before you choose to self-publish.
Also included are essays on the different mediums for horror: Poetry and Horror by Blaze McRob, and Horror for Kids: Not Child’s Play by novelist Francois Bloemhof offers guidelines for writing horror for youth. Several essays on comics and screenwriting, (one of the biggest outlets of horror today), are also included.
Horror Comics – How to Write Gory Scripts for Gruesome Artists by novelist Jasper Bark discusses the craft of writing horror comics and the relationship between writer and artist. Some Thoughts on My Meandering Within the World of Dark and Horror Art by artist Niall Parkinson offers thoughts on creating dark and horror art. So You Want to Write Comic Books… by novelist C.E.L. Welsh discusses what goes into the making of a comic book.
From Pros to Scripts by author and screenwriter Shane McKenzie talks about the many challenges of screenwriting. Writing about Films and For Film by award winning writer, editor and screenwriter Paul Kane gives the story of the author’s rise to success and tips for learning the lingo of the business. Screamplays! Writing the Horror Film by award winning author and screenwriter Lisa Morton offers the basics of screenwriting, description and dialog, and tips for getting your screenplay made into a movie. Screenplay Writing: The First Cut is the Deepest by author, director and editor Dean M. Dinkel recaps of the author’s experience at the Cannes Film Festival.
Essays on writing a digital world include Running a Webserial, or How to Lose Your Mind, One Week at a Time by Southern author Tonia Brown, providing a brief history of serials and a rundown of what goes into running one on the web; Friendship, Writing, and the Internet by Bram Stoker Award winning novelist Weston Ochse with reflections on online connections with like-minded writers, and Audiobooks: Your Words to Their Ears by horror novelist Chet Williamson discusses what it takes to create and audiobook and what to expect from the effort.
Of course, there is also plenty of advice on crafting a quality story. What is Horror? by author and novelist Graham Masterson offers general writing advice which could be applied to any genre and instructs on how to push your writing to the edge. The Journey of “Rudy Jenkins Buries His Fears” by author Richard Thomas takes us on a walk through of the writing, editing and submissions process of a story. Writing Short Fiction by horror and thriller novelist Joan De La Haye offers tips to tighten your writing and move the story forward, and discusses where to look to sell your story and how to choose where to submit. Ten Short Story Endings to Avoid by Scottish horror novelist William Meikle supplies a valuable list, if you want to avoid having readers feel cheated. From Reader to Writer: Finding Inspiration by publishing and editing consultant Emma Audsley offers advise for attacking the blank page. Writing Exercises by horror writer Ben Eads provides exercises in description and dialogue. Writer’s Block by short fiction writer and novelist Mark West discusses how to keep the creative juices flowing. Editing and revision are covered with Editing and Proofreading by author and editor Diane Parking presents good reasons not to send out a first draft, and How to Dismember Your Darlings – Editing Your Own Work by Jasper Bark gives a brief guide on how to self-edit.
A few essays outline the needs of a writer and suggestions on how to meet them. Filthy Habits – Writing and Routine by Jasper Bark offers a look at the benefits of creating a daily writing routine. A Room of One’s Own – the Lonely Path of a Writer by horror and fantasy writer V. H. Leslie discusses the need for solitude and space to write in. Writing Aloud by screenwriter and author Lawrence Santoro outlines the benefits of reading aloud as a part of the writing process.
Also included are Partners in the Fantastic: The Pros and Cons of Collaborations by novelist Michael McCarty, which looks at the views of various authors on collaborations, and Writing the Series by series author Armand Rosamilia, which explains why Rosamilia writes series.
Several essays offer advice specific to writing in the horror genre. Making Contact by award winning novelist Jack Ketchum discusses how to turn what you know into a horror show. Bitten by the Horror Bug by horror author and screenwriter Edward Lee looks at what motivates us to write horror. Reader Beware by author Siobhan McKinney explores the role fear plays in horror. Bringing the Zombie to Life by author Harry Shannon maps out four components of a good zombie story. The Horror Writers’ Association – The Genres Essential Ingredient by author and President of the Horror Writers’ Association (HWA), Rocky Wood gives a rundown on the HWA.
What’s the Matter With Splatter? by horror writer and Vice-President of the AHWA, Daniel I. Russell discusses the use of blood, gore and splatter in horror fiction or screenwriting, gives tips on how to use it to gain the desired effect, and discusses why some gore doesn’t get a second thought. Avoiding What’s Been Done to Death by British horror writer Ramsay Campbell defines good horror fiction & emphasizes originality. The (Extremely) Short Guide to Writing Horror by dark fiction author Tim Waggoner offers an introduction to writing horror, including techniques and brief definitions, and a list of good resources for horror writers. Growing Ideas by horror writer Gary McMahon offers a look into the author’s writing process. Writing Horror: 12 Tips on Making a Career of It by horror novelist Steve Rasnic Tem instructs on building your own writer’s toolbox and advice for entering the profession of writing horror. The Cheesy Trunk of Horror by international best selling author Scott Nicholson provides a look at both writer and reader perspectives on horror and dark fiction. Class: Vaginas in Horror by science fiction, urban fantasy and horror novelist Theresa Derwin offers an overview of women in the horror industry. And the afterward by Crystal Lake Publishing’s editor, Joe Mynhardt, includes his own advice for writing horror.
Horror 101: The Way Forward is based on the sound advice of seasoned professionals that is useful to horror writers in any stage of their careers. I recommend it with four quills for anyone who wants to write horror in either fiction or screenwriting.
Kaye Lynne Booth does honest book reviews on Writing to be Read in exchange for ARCs at no charge. Have a book you’d like reviewed? Contact Kaye at kayebooth(at)yahoo(dot)com.
As almost every writer knows, anywhere you go to discuss writing will always have someone proclaiming their tried and true rules for writing that you MUST follow. Post on any writing forum whether it be for screenwriting or fiction and you’ll find dozens, if not hundreds, of eager “expert” or “professional” writers ready to tell you exactly which rules matter and which are hogwash. Yes, many of these writers have published novels or sold scripts and are professionals in the industry, but does that mean their rules are THE rules to follow?
Let me say that again – Absolutely not. Just because someone has sold a script or published a novel or piece of writing doesn’t mean that they will be able to give you rules to writing that will be guaranteed to work on your story. If you put every writer who ever sold something in a room and asked them to come up with a master list of writing rules it’d be impossible. There’d be factions who think you can never write in present tense and others who think a description of the weather should never start a novel.
There’d be groups who think the epitome of literary or cinematic genius is one specific piece of work, and others who think that same work is a crock of shit. If the people who are actually selling works of writing cannot agree on what makes good writing, and which writing rules are always true, then how on earth can a newbie writer even dream of making it in the industry, let alone be brave enough to even try to put words on the page?
Ultimately, all of this boils down to one single fact about writing: There are hundreds of rules for writing, but one of those rules is that there are no rules. Now before you dip out of this article, because that’s a useless piece of advice in the previous sentence, give me a chance to elaborate.
Writing is a subjective thing. Every story is going to require following a different mix of rules to make it work. That’s why whenever I write a post about the “rules” of writing, I try to explain which situations the rule applies to, and where it might not apply. Also, every writer is going to have different opinions about what makes a good story, and every publisher/studio/audience is going to have a different opinion about what they find marketable and worth buying. If this is true, which based on the evidence presented through comparing a wide range of published and produced pieces of writing it is, then the one and only real rule for writing is that you have to know the “What” and the “Why” of your story.
Essentially, knowing the What’s and Why’s of your story is all about researching the genre or style of writing you want to write by studying the existing works in that genre, and being conscious about your story and your writing choices so that you can answer the following questions on each project you work on:
- What writing “rules” do you have to follow for this particular story? In general, writing rules are not actually rules at all, but rather they’re typical or common guidelines of storytelling that work or don’t work based on previously existing works. So knowing what “rules” you have to follow just means you know which “rules” actually apply to what you’re writing, and which don’t. If you’ve done your due diligence and prep work before writing by studying other works that are similar to what you want to write, then you should have a general idea of what the common rules of that style or genre of story are, and which might apply to your story.
- Why are you following or ignoring these rules? Every time someone tells you a “rule” for writing, it’s important to understand why the rule exists, and where it applies. For your own work, always be able to justify why you’re breaking one set of rules, and why you’re following other rules. You may not have to follow all the “rules” in your writing, but people come up with these various rules for a reason, so understanding why they exist will help you understand why you need to follow certain ones and ignore others in your work.
- What is your setting, characters, plot, etc.? If you don’t know this when you’re writing, then your writing will probably be all over the place. Some people can free-write and discover a lot of these details as they go, but it is almost universally true that having these elements solidly in mind before writing will make your writing stronger.
- Why are you choosing these characters, this setting, that plot, etc.? Ultimately, the core of writing is to make deliberate choices and to be able to justify those choices as being ones that serve the story. Every character, setting, plot device, and elements of your story down to word choice can have a major impact on your writing. The more deliberate and conscious you can be in your choices, the more your writing should come together to tell a successful story.
As you can see, this one and only writing rule really boils down to being conscious about each choice you make in your writing and constantly asking yourself why whenever you are presented with a “rule” that someone thinks is universally true. All of these “rules” people come up with regarding writing are the results of people looking for the magic formula to a guaranteed sale on a piece of work, and they find it by looking for common elements across sold pieces of writing. While it is often true that these elements do exist, there are also just as many pieces of writing out there that break these trends.
Every story is its own thing and has its own identity, and I’m a firm believer that if you focus on serving the story rather than trying to force it to fit pre-existing rules or expectations, then your story will be better for it. I’m not saying you’re guaranteed to sell it, no one can guarantee that, but I am saying if you stay true to your story even if it means breaking the rules, your story will be stronger.
The important thing is to know what “rules” exist and to be able to justify why you broke these preconceived rules that people have and to show that you did so consciously. Ultimately, people aren’t going to focus on whether you broke the “rules” or not with your writing when deciding to buy it, they’re going to focus on whether you’ve put in the work to construct a compelling story that people want to read. If you do that, nothing else matters.
Robin Conley offers great writing advice once a month on Writing to be Read. If you just can’t wait until next month to find out more, you can pop into her blog, Author the World, for more tips, or a weekly writing prompt.