Yeppers, kids, it’s possible to have a baby and still love writing. (All it takes is a nanny.) How a bestselling Irish author survives thrives:
BLONDE, beautiful, happily married mother-of-two and bestselling author Cecelia Ahern has had the private and public success many of us dream about.
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One of the most asked questions that most new writers ask is ” Where do you get ideas for your scripts?” The answer is simple, but often elusive. They come from out of the blue. Ideas are all around us like air. The important thing is to be aware of them.
First you add : READING
I wanted to write a police procedural spec script. Where would I get the ideas? Every city has a tabloid newspaper like the New York Daily News or New York Post. Scanning these tabloids can provide dozens of juicy conflict situations that are fodder for a script. An Iraq War veteran not getting appropriate care from his local V.A hospital. A politician going to jail for embezzling money. A neighbor who was abducted as a child and now has reunited with loved ones. Any situation where people are in conflict can be the basis for a story.
A few months ago, TVWriter™’s Beloved Leader Larry Brody bobbed when he should’ve weaved, reaped what he shouldn’t have sown – whatevs – and became part owner of a start-up animation studio called Southeast Asia Animation because it’s headquartered in Bangkok and if that isn’t southeast Asia then what the #@!$ is?
LB’s first step as Co-CEO was to put the Thai Team of animators to work on some projects that he and his partners Steve and Pace Encell hoped would become solid proofs of concept, that concept being that SEAA could make magic moving pictures happen for media companies and individual creators that needed ’em.
How vibrant is your “interior life?” Compared to Grant Snider’s, for example:
More Great Grant Snider Visual Musings HERE
A casual but very important lesson in writing for the screen, whether that screen is big, small, or, you know, even smaller, from one of TV’s comedy writing masters:
A while back, I mentioned the primary lesson I learned while attending “The Actors’ Workshop”, which I later applied – when I remembered to – to my writing.
The lesson involved the actor’s pre-determination of their character’s “intention.” Before you begin, if you first identify your character’s – or characters’ if you are writing or playing numerous parts – intention, articulated in a single, declarative sentence, you are productively off to the races – completing the horseracing analogy – right from the starting gate.