40 years worth of TV writing experience and info, yours for the taking.
Writers of all stripes get feedback from all sorts of people – sometimes it’s solicited and sometimes it just jumps out at you. We handle all that feedback in a lot of different ways. But, there’s the feedback from knowledgeable sources we all have to pay strict attention to.
When a screenwriter gets it from on high and is told where a script may be lacking, that’s not a time to argue. When a novelist gets feedback from an Editor or Publisher, that is not the time to argue.
Okay, so we’re not big Ted Talk enthusiasts. You’ve probably heard our drill: “Too facile. Too superficial. Too pompous. Too overblown.”
But sometimes they get it right. Like now:
This one’s definitely worth watching especially if you’re a new writer just getting your bearings.
Or your friend’s book. Your mother’s book. Whatever.
Anyway, this is by far the most complete guide to self-publishing we’ve ever seen, so all we can say is “Use this info wisely, grasshopper. It’s not pure gold but very, very close. Read on and you’ll see:
Did you know that audio drama, aka what your great grandparents used to listen to back in the 1930s is making its move into the big time right now? That production companies, talent agencies, and – yes! – TV networks are scouting the interweb audio drama scene looking for writing talent to shine their lights on?
Well, if you don’t, then you haven’t been paying attention to what we’ve been telling you here at TVWriter™. So here’s a list of sites that are saying the same thing. Do yourselves a favor and take a good look.
Love to write action sequences? I know I do. But, since we like to write these things we need to do our research ahead of time so we don’t write something really dumb into our scripts or novels. I’m not going to go into every possible scenario, but let’s thinks about a few things to get our brains in gear and pondering the realities of what we write. Plainly we can take some license in our creations, but it’s best to know what’s real before we go off on our own paths.
Like what, you say? Well, for one thing, those fisticuffs? Those mano on mano, hand-to-hand fights we sometimes cook up are a lot of work. In ‘real life’ they usually last only a few seconds for regular folks. Might last longer for someone really well trained in martial arts or some form of hand-to-hand combat.
The combatants are going to tire out really fast because it’s really hard work, not to mention painful when somebody gets slugged. That character you just put in a fist fight for the first time will react differently than the character who’s been brawling all his life. Definitely something to keep in mind when you write those slug-fest scenes.