THE STORY SPOT

Novelist Jim Krusoe’s latest book, Erased, has been named by The Los Angeles Times as a must-read for the summer. Krusoe discusses his work (see: Girl Factory)and reads an excerpt on KCRW’s Bookworm.

Jim Krusoe teaches at Santa Monica College and is a mentor in the MFA program at Antioch University Los Angeles.

Erased at Amazon
Author Q & A and more at Tin House Books
Listen at KCRW/Bookworm

We heartily support 826LA and it’s with pleasure that we bring to you one event from their new series of seminars geared at adult writers. The Screenwriting seminar promises to be another winner. In true 826 fashion, they’re calling out the big talent (amazing screenwriters including two, yes TWO, Academy Award nominees and a host we all know and adore) to raise funds for the extraordinary program.

But don’t take our word for it, check it out for yourself:

A bargain! And every penny goes towards a very worthy cause: literacy. Looks like there are 19 tickets left (after I snagged mine!) Get yours while they’re hot.

Visit 826LA Venice and 826LA Echo Park and pick up some goodies from the Time Travel Store while you’re there. There are always low-commitment volunteer opportunities available so ask someone, why dontcha?

Don’t live in Los Angeles, there are 826 chapters around the country:

826NYC
826 Seattle
826 Boston
826 Chicago
826 Valencia
826 Michigan

Always a source of great writing advice and inspiration, screenwriting coach Michael Hauge offers us this short nugget of wisdom on his site (www.screenplaymastery.com) that I’m sharing with you here.

EVERYTHING I KNOW IN 100 WORDS OR LESS

Q: Can you describe some of the things writers need to think about in writing a salable story?

A: Since my entire career has been built on answering this question for writers and filmmakers, it’s pretty hard to reduce it to a single answer. But the best advice that comes to mind to cover all situations is to suggest that writers ask themselves three questions about every screenplay they write:

1. What is each character desperate to achieve?

2. What makes that goal seem impossible?

3. What terrifies each character?

Writers willing to dig deep enough to answer these questions are well on their way to a commercial screenplay. For much, much more, refer to my book Writing Screenplays That Sell or my CDs Screenwriting for Hollywood or The Hero’s 2 Journeys.

These seem like simple questions but I challenge each of you–new and experienced writers alike–to come up with solid, easily communicated answers for your current projects. If you can, consider yourself well on your way to creating a clear and compelling story. If you have some work to do, well, what are you waiting for?

Coaching veteran Michael Hauge, author of Writing Screenplays That Sell and Selling Your Story in 60 Seconds, has offered readers of THE STORY SPOT these words on crafting the introductory pages of your screenplay. This piece, along with others by Michael, can be found on his website at www.screenplaymastery.com.

THE PROLOGUE OPENING
by Michael Hauge

The first 10% of your screenplay is what I term the SETUP, during which you must transport the reader from the real world into the world you’ve created, as well as get them emotionally involved with the setting and characters before your main story line begins. While many films open with the hero living his or her everyday life, you may want to consider preceding your hero introduction with a PROLOGUE. Here you begin with some outside time, location or character, in order to draw the reader into the story more quickly or powerfully, and to create anticipation of what is to come.This Prologue can take the form of a FLASHBACK, BOOKEND, MID-STORY PEAK MOMENT, or NEMESIS INTRODUCTION:

Read on »

Though there is much press already, we writers can’t be honored enough for creating the stories that touch countless hearts, speak truths, and change lives.

Congratulations to the nominees and winners of last night’s 2009 Academy Awards in the Writing categories.

WRITING (Original Screenplay)

Courtney Hunt for FROZEN RIVER
Mike Leigh for HAPPY-GO-LUCKY
Martin McDonagh for IN BRUGES
Dustin Lance Black for MILK *Oscar Winner*
Andrew Stanton and Jim Reardon for WALL-E

WRITING (Adapted Screenplay)

Eric Roth for THE CURIOUS CASE OF BENJAMIN BUTTON
John Patrick Shanley for DOUBT
Peter Morgan for FROST / NIXON
David Hare for THE READER
Simon Beaufoy for SLUMDOG MILLIONAIRE *Oscar Winner*

An extra-special bit of attention is to be paid to Ms. Hunt for not only being one of the historically few estrogen-producing members of this illustrious gang but also because FROZEN RIVER appears to be her first screenwriting credit EVER!

Photo credits: From www.oscar.com