Dearest Story Spot readers,Here at the close of 2008, I’d like to humbly extend my personal gratitude to you for making this year — the maiden voyage of THE STORY SPOT — a brilliantly fulfilling one. Because of your loyalty, your enthusiasm for the site, and your continued sharing of posts among friends, I am inspired anew each and every week to bring you interesting and relevant tidbits to fuel your creativity.
Some of you are new to writing in all its forms and some of your names we recognize from your accomplishments on screen and in print. All of us, wherever we are in our life of learning, share a love for this nutty pursuit of thrilling, zinging, wondrous story. Watch for the expansion of our service offerings in 2009 with the addition of some very exciting names to our roster. Hopefully they, too, will be inspired to share what moves them in the world of storytelling.
Thank you for all you’ve given me. I wish you all continued joy and success in your creative explorations in the new year. Read, write, and come back here to share your thoughts. THE STORY SPOT would not thrive without you, our readers and Twitter followers.
Happy Holiday Season and a story-filled New Year!
/djw
Canada Reads 2009
December 18, 2008
Blisfully oblivious to the fact that neighbours south of the border are increasingly estranged from the written word, Canadians continue to devour books–fiction, especially!–as a cultural norm.
Evidence: CANADA READS 2009.
Read on
Five Ways to Hone Your Focus in the New Year
December 9, 2008
‘Tis the season for tips lists, n’est pas? At the heart of what story consultants do are the abilities to take in, distill, and communicate. Here are five tasty treats to feed your hungry consultant’s (and writer’s!) brain during the coming year.
Hone Your Story Consulting Skills in 2009:
- Create a short checklist of the items you notice first when reading a new draft.
This will require honest attention to your own process as you sit with a new piece. Each person’s talent walks a slightly different path so listen for yourself then write down your findings. Chances are good that you habitually pick up on similar types of items in a similar order from project to project (e.g., noticing how the writer establishes settings, then how they introduce characters, followed by the elements of their voice). - Keep your personal checklist posted prominently in your workspace to remind yourself of your own strengths of observation. Soon, you may find other hidden talents developing to steal the limelight.
- Allow yourself to read a draft lightly and completely once through without making notes.
Taking in the mood and intent of the piece as an audience member takes an amount of restraint that many of us find challenging, to say the least. It takes extra time to read through this way but your writer/partner and the project will be better for it. …Alright, typos are exempt and marking them may even take the edge off the urge to edit during that first pass. - Formulate your logline for the project.
Regardless of what information accompanies the project, after you turn that final page, take a few minutes to create a logline. This will allow you to unearth your experience of the story as read, revealing truths, gaps, and opportunities as you work. It is also handy to compare your own logline with that of your writer/partner’s or with the production company’s. Sometimes what’s on the page does not match their intent or desire; creating your own logline may provide a platform for discussion and the start of productive working sessions. - Consider your communication style from all perspectives.
A great story consultant is not only adept at ferreting out a writer’s goals and the areas in which their story can shine but also is skilled at creating a place of shared understanding. Without clear and kind communication, trust cannot be established and creativity cannot flourish between writer and coach. Take time to consider how you routinely formulate and express your thoughts, how you receive the input of your writing partners, as well as how your input is generally received. Compare your observations to your ideal working scenario then take baby steps to match the two.
Hopefully these five tips will spur your creativity and contribute to shaping your ideal working environment in the new year. Why not add your own ideas, process, and helpful hints to these five by leaving a comment below?
Check out Good Reads!
December 7, 2008
Just a quick reminder to give a click on our GOOD READS widget. You’ll find our curated reading list of notable story-related blogs including that of the wildly popular screenwriter, John August.
The MENU button will show you what’s on tap and you can scroll from blog to blog by using the arrow buttons. Visit your favorite writer’s blog, sign up for their feed, and tell a friend. Your readership (as it is here) is always appreciated.
If you have suggestions for additions to our GOOD READS reading list (especially if it’s your own blog!) do send it along. And, if you’d like to offer THE STORY SPOT content on your own site, you can get your own free, automatically updated widget right here at SpringWidgets.
Good reading!
Indie Scripts vs. Studio Scripts
December 3, 2008
Ok. Maybe this post isn’t exactly about the differences between independent feature scripts and studio scripts, per se, but it is about the plain divide that I’ve personally observed on a regular basis when reading screenplays of all kinds.
I recently made the comment that it is consistently remarkable that a script that’s in the development or production stream at a studio reads differently from page one than does the average script on the same track at an independent/smaller production company. There’s no real reason for this yet it seems to be so. I gave the matter a wee bit o’ thought and am tossing it out here for you all to chew on and toss back. I’d love to hear what you think out there in writer/editor land.
Read on