#scenewriting

[thewriteadviceforwriters]

3 Writing Mistakes That Make Your Scenes Fall Flat

so you wrote a scene. it exists. but it kinda… just sits there.

you’re not alone 😭 i just dropped a carousel post on insta about: “3 Writing Mistakes That Make Your Scenes Fall Flat”

it’s giving tough love + practical fixes for scenes that: — feel like filler — are technically fine but emotionally hollow — have movement but no change

View this post on Instagram

A post shared by TheWriteEdvice | Writing Tips | Writer Coach (@thewriteedvice)

📊 poll time: which mistake are YOU guilty of?

💬 let me know in the tags or replies which one called you out the most 🕯️ or tag your writer mutual who needs a scene intervention

[blog-de-nats]

Writetober Day 2: Retro

Palabras: 1247.

Formato: Short story.

Género: Sci-fi ligero, comedia.

Advertencias: ¿Caos adolescente y mucho sarcasmo se consideran advertencias?

-Llegas tarde, Andjela. 

La chica apareció al lado del hombre de traje en apenas un pestañeo, haciendo parecer que se teletransportaba de un lado a otro ante el ojo del ser humano. 

-No seas aguafiestas, jefe.- comentó, sacando el cassette de su lector y quitándose los cascos.- Esta vez no ha sido para tanto, ¿quince? ¿veinte minutos?

El adulto suspiró, cerrando los ojos durante un instante y contando hasta diez mentalmente. eso era cosa mala, Vasile sólo lo hacía cuando Andjela lo sacaba de quicio, que era todo el rato.

-Andjela, quedamos hace tres horas en el Congreso para que nos dieras las fotografías que habías conseguido. Hace justamente dos horas y treinta y siete minutos me llamaste desde una cabina en Nueva Jersey, que está a la distancia de un océano, para decirme que ibas a estar en la feria y me las darías allí. 

-Oh, claro. -La chica le cortó, rebuscando en los bolsillos de su chaqueta de cuero.- Y las he metido justo aquí... En alguna parte, estoy segura. 

-No las has perdido, ¿verdad? -Vasile entrecerró los ojos, mirando fijamente a la chica de esa forma que él sabía que la ponía de los nervios o, por lo menos, cargo de conciencia.- Llevas tres horas para entregármelas, Andjela. 

La chica pasó a rebuscar en su mochila de cuerdas y estampado de flores. Mientras tanto no se atrevió a mirar a la cara al adulto.

-Oh, ya sabes. -divagó, intentando entretenerle.- Tengo una vida muy ocupada y me pillabas entrenando, ¿sabes?

-¿Entrenando?- Vasile alzó una ceja. 

-Oh, sí. -terció la chica, pasando a buscar en los bolsillos de su pantalón- Ir a la velocidad de la luz no se aprende por gracia divina. Aunque todavía no he llegado a tales velocidades, la verdad. ¡Pero hace una semana descubrí que voy lo suficientemente rápido como para andar por encima del agua!

-¿Y es por eso que acabaste en Nueva Jersey?

-Exacto, así que aproveché a visitar un centro comercial que habían abierto hace poco y me fui a pintar las uñas. ¿Te gustan?

Andjela le enseñó las manos, sacándolas de sus bolsillos.

-Son muy... rosas. -Vasile comentó, ajustándose la corbata distraídamente. 

-Lo sé, son maravillosas. -La chica sonrió, metiéndose las manos en los bolsillos de su chaqueta- Oh, mira, estaban aquí.

La chica sacó unas fotografías instantáneas de su mano, dobladas y arrugadas. Pero su imagen dejaba ver con total claridad todas las muestras que necesitaba el Congreso y, por ende, Vasile.

El hombre se las quitó de las manos y las desdobló, permitiéndose unos minutos para analizarlas.

Andjela se balanceó sobre sus pies, pasando su peso de las puntas a los talones y de los talones a las puntas todo el rato. Miró distraídamente los carteles de luces de colores de la feria mientras tarareaba para sí, intentando rellenar el silencio entre los dos. 

-¿Por qué las has hecho en una cámara instantánea? -el adulto preguntó, mirando de reojo a la chica un instante.- Te dimos una Nikon último modelo para que nos dieras la memoria de la cámara. Y, según el papel de la fotografía, has usado una polaroid de hace por lo menos una década.

-Ah, es que no quería malgastar el potencial de una cámara tan buena en algo tan aburrido como una misión secreta de espionaje a un grupo terrorista. -Andjela se encogió de hombros.- Si te sirve de consuelo, la voy a dar una mejor vida que la que tú planeabas. 

-¿Y lo de la mancha de salsa en una de las fotos?- preguntó, pasando a otra instantánea.

-Es que me he comido un perrito caliente en Nueva Jersey mientras me cercioraba de que las fotos no habían salido borrosas. -la chica comentó mientras se asomaba sobre el papel para ver la mancha de la que hablaban.- Creo que eso es mayonesa o mostaza, no estoy segura. Pero estaba riquísimo. ¿Quieres probarlos? Dame un momento, ahora vuelvo.

Y la chica desapareció de en medio de la nada para la vista de Vasile. Hace unos meses él habría sido capaz de divisar una estela de movimiento cuando aparecía o desaparecía, pero ahora era demasiado rápida como para reconocerla. Por fin se estaba tomando el entrenamiento en serio. 

Por otro lado, seguía siendo la misma chica que había reclutado.

Vasile negó con la cabeza para sí, guardándose las fotos en el bolsillo interior de su traje. Miró el ambiente colorido y animado de la feria. ¿Por qué no le sorprendía que lo hubiera citado allí?

-No sabes lo desesperante que puedes llega...

-Ya he llegado.- la imagen de la chica con unas gafas de aviación puestas y con un perrito caliente en cada mano apareció ante los ojos del adulto.- ¿Decías algo? Cuando me he acercado parecías tener la boca súper abierta y estabas haciendo un sonido como el de un osos susurrando. 

Vasile volvió a contar hasta diez en su interior antes de responder.

-No es de tu incumbencia, señorita. 

-Bueno, allá tú. -Andjela cedió, dándole un bocado a uno de los perritos mientras ofrecía el otro al adulto. 

Él sacó un pañuelo de tela y cogió la comida sin llegar a tocarla. Andjela no supo cómo, pero el hombre también se las arregló para darle un buen bocado sin que se le escurriera salsa por algún lado.

La chica se quitó de los ojos las gafas de aviación que solía usar cuando corría a velocidad sónica, dejándoselas superpuestas sobre la frente, y volvió a rebuscar en los bolsillos de su chaqueta.

-Antes de que se me olvide. -hablo una vez que hubo tragado todo el bocado.- Has sido tú el que ha invitado a los perritos. 

Sacó la cartera de Vasile y se la tendió mientras empezaban a andar alrededor de la feria. 

El adulto se la quitó de un golpe seco y se la guardó, esta vez en el bolsillo interior junto a las fotografías.

-¿Cuánto te ha costado?

-Treinta dólares.

El adulto tuvo que pestañear un par de veces antes de poder responder.

-¿Cómo es que has...?

-Sí, ya lo sé. No hace falta que me lo digas. -Andjela cortó al hombre- Es un rollo eso del cambio de moneda, pero es algo necesario. Pero no es para tanto.

-Andjela. -advirtió Vasile.- Un perrito no vale sólo quince dólares.

-Bueno, también he aprovechado para pagar lo del pintauñas y me he comprado un cassette nuevo. Lo del perrito han sido sólo ocho dólares. Pero tranquilo, todavía tienes un montón de pasta dentro de la cartera. Para dar y prestar, de hecho.

-Eres increíble.- farfulló antes de darle un bocado increíblemente elegante al perrito.

-Lo sé, no hace falta que me lo digas. -Sonrió la chica- Tú también eres muy amable, pero me tengo que ir. Prometí a mi madre que volvería a casa antes de las nueve y ya son las nueve y media. A la próxima tendremos que quedar más pronto. 

-Pero si hemos quedad...

La chica desapareció antes de que Vasile pudiera terminar la frase, dejándole tirado en una feria con un perrito de la mano. Miró su mano izquierda y cogió una entrada a la noria que había aparecido entre sus dedos justo cuando la chica desapareció.

Una vez analizado el anverso, dio la vuelta al papelito y se encontró con una letra emborronada y apretada que conocía de sobra.

"Diviértete o algo por el estilo"

Vasile negó con la cabeza y contó hasta diez. 

Esa chica iba a ser su perdición. 

[ismail943]

🔰Mastering Your Scenes: Your Blueprint for Success🔰

Best Selling ⭐⭐⭐⭐⭐ 10+ ratings

    Click here: https://www.amazon.com/dp/B08GY843L4 

Description:

So you want to write an engaging scene, do you?

This book was written with one main purpose: to help give authors a creative boost in their scene writing and toss writers' block into the oblivion of the abyss. In order to accomplish this, each chapter is written in a workbook-like format so that the steps provided can easily be implemented after they are explained. For each element of scene writing that is presented, J.A. Cox explains the How, Why, and When of its use along with his own description so that the information is easy to assimilate. He provides copious examples from his own writing of these elements in action as well as from shows and movies.

Here are the elements that you will be learning about:

Sketching

Location

Time

Characters

Perspective

Resistance

Objective

No new-fangled way of writing is about to be forced on you, but advice offered to help you realize things you are likely not seeing as you struggle to come up with ideas. As you make your way through these pages and consider these elements, you will end up in a state where it is difficult to shut down the tsunami of ideas that will come your way.

Finally, there is a completed outline format that can be used over and over for every scene you write to keep that creative pump primed. Therefore, you will no longer have to fuss over figuring out what prompts or hooks to use to start a chapter as your answer will come to you as you outline your scenes from the various questions provided for you to ask with each element.

This book will revolutionize the way you look at your scenes in the future.

[jionline24]

🔰Mastering Your Scenes: Your Blueprint for Success🔰

Best Selling ⭐⭐⭐⭐⭐ 10+ ratings

    Click here: https://www.amazon.com/dp/B08GY843L4 

Description:

So you want to write an engaging scene, do you?

This book was written with one main purpose: to help give authors a creative boost in their scene writing and toss writers' block into the oblivion of the abyss. In order to accomplish this, each chapter is written in a workbook-like format so that the steps provided can easily be implemented after they are explained. For each element of scene writing that is presented, J.A. Cox explains the How, Why, and When of its use along with his own description so that the information is easy to assimilate. He provides copious examples from his own writing of these elements in action as well as from shows and movies.

Here are the elements that you will be learning about:

Sketching

Location

Time

Characters

Perspective

Resistance

Objective

No new-fangled way of writing is about to be forced on you, but advice offered to help you realize things you are likely not seeing as you struggle to come up with ideas. As you make your way through these pages and consider these elements, you will end up in a state where it is difficult to shut down the tsunami of ideas that will come your way.

Finally, there is a completed outline format that can be used over and over for every scene you write to keep that creative pump primed. Therefore, you will no longer have to fuss over figuring out what prompts or hooks to use to start a chapter as your answer will come to you as you outline your scenes from the various questions provided for you to ask with each element.

This book will revolutionize the way you look at your scenes in the future.

[freelancerjahed10]

🔰Mastering Your Scenes: Your Blueprint for Success🔰

Best Selling ⭐⭐⭐⭐⭐ 10+ ratings

    Click here: https://www.amazon.com/dp/B08GY843L4 

Description:

So you want to write an engaging scene, do you?

This book was written with one main purpose: to help give authors a creative boost in their scene writing and toss writers' block into the oblivion of the abyss. In order to accomplish this, each chapter is written in a workbook-like format so that the steps provided can easily be implemented after they are explained. For each element of scene writing that is presented, J.A. Cox explains the How, Why, and When of its use along with his own description so that the information is easy to assimilate. He provides copious examples from his own writing of these elements in action as well as from shows and movies.

Here are the elements that you will be learning about:

Sketching

Location

Time

Characters

Perspective

Resistance

Objective

No new-fangled way of writing is about to be forced on you, but advice offered to help you realize things you are likely not seeing as you struggle to come up with ideas. As you make your way through these pages and consider these elements, you will end up in a state where it is difficult to shut down the tsunami of ideas that will come your way.

Finally, there is a completed outline format that can be used over and over for every scene you write to keep that creative pump primed. Therefore, you will no longer have to fuss over figuring out what prompts or hooks to use to start a chapter as your answer will come to you as you outline your scenes from the various questions provided for you to ask with each element.

This book will revolutionize the way you look at your scenes in the future.

[jahed420]

🔰Mastering Your Scenes: Your Blueprint for Success🔰

Best Selling ⭐⭐⭐⭐�� 10+ ratings

    Click here: https://www.amazon.com/dp/B08GY843L4 

Description:

So you want to write an engaging scene, do you?

This book was written with one main purpose: to help give authors a creative boost in their scene writing and toss writers' block into the oblivion of the abyss. In order to accomplish this, each chapter is written in a workbook-like format so that the steps provided can easily be implemented after they are explained. For each element of scene writing that is presented, J.A. Cox explains the How, Why, and When of its use along with his own description so that the information is easy to assimilate. He provides copious examples from his own writing of these elements in action as well as from shows and movies.

Here are the elements that you will be learning about:

Sketching

Location

Time

Characters

Perspective

Resistance

Objective

No new-fangled way of writing is about to be forced on you, but advice offered to help you realize things you are likely not seeing as you struggle to come up with ideas. As you make your way through these pages and consider these elements, you will end up in a state where it is difficult to shut down the tsunami of ideas that will come your way.

Finally, there is a completed outline format that can be used over and over for every scene you write to keep that creative pump primed. Therefore, you will no longer have to fuss over figuring out what prompts or hooks to use to start a chapter as your answer will come to you as you outline your scenes from the various questions provided for you to ask with each element.

This book will revolutionize the way you look at your scenes in the future.

[alauddin24]

🔰Mastering Your Scenes: Your Blueprint for Success🔰

Best Selling ⭐⭐⭐⭐⭐ 10+ ratings

    Click here: https://www.amazon.com/dp/B08GY843L4 

Description:

So you want to write an engaging scene, do you?

This book was written with one main purpose: to help give authors a creative boost in their scene writing and toss writers' block into the oblivion of the abyss. In order to accomplish this, each chapter is written in a workbook-like format so that the steps provided can easily be implemented after they are explained. For each element of scene writing that is presented, J.A. Cox explains the How, Why, and When of its use along with his own description so that the information is easy to assimilate. He provides copious examples from his own writing of these elements in action as well as from shows and movies.

Here are the elements that you will be learning about:

Sketching

Location

Time

Characters

Perspective

Resistance

Objective

No new-fangled way of writing is about to be forced on you, but advice offered to help you realize things you are likely not seeing as you struggle to come up with ideas. As you make your way through these pages and consider these elements, you will end up in a state where it is difficult to shut down the tsunami of ideas that will come your way.

Finally, there is a completed outline format that can be used over and over for every scene you write to keep that creative pump primed. Therefore, you will no longer have to fuss over figuring out what prompts or hooks to use to start a chapter as your answer will come to you as you outline your scenes from the various questions provided for you to ask with each element.

This book will revolutionize the way you look at your scenes in the future.

[lets-zofifi-stuff]

I think DIsney really should just stick to making fun rides in their theme parks, then sitting a scenewriter on the cart and teling them 'make a movie out of it'.

So far the best live action DIsney movies were based of the existing rides. Pirates of the Carrabbean and Jungle Cruise.

[thecurioustale]

I am going to try this on myself:

Scene Generation: The heart of my writing skill appears to be my ability to conceive and execute compelling scenes. The "scene" is essentially the base unit product of my work. Most of my scenewriting revolves around talking or internal thought, and most of the rest revolves around narrative exposition, but when I write other types of scenes (e.g., action) these tend to be compelling as well, by my own judgment. Grade: A

Use of Language: I am grouping both structural and aesthetic language use into one group for list clarity although I am better at the latter than the former. My command of language is another heart of my writing facility. My biggest weaknesses are blockiness and wordiness, which hopefully can be regarded as stylistic. Grade: A

Character Pathos: I think I am strong at evoking life pathos without being maudlin, first-order predictable, or gratuitous. Grade: A-minus

Worldbuilding: What I suspect most people would consider me strongest at, but even though I have adopted worldbuilding as one of my primary purposes in writing it is nevertheless the case that most of my worldbuilding is incidental to scene generation and happens "inline." I do have a much stronger sense than most people of plausibility-as-experience-defining. Grade: A-minus

Characterization: I am only ranking this below worldbuilding due to the fact that my characterization skills are highly clustered around certain character types. There are many kinds of characters I am not good at writing. But I excel at the ones I am good at. I think the most validating feedback I tend to receive on my work is how compelling people find my characters, especially when it comes from people who have known me personally and are surprised that my fiction is so different from my nonfiction and my personal mannerisms of speech. Grade: A-minus

Thematic Development: Probably one of the most important things I do as a writer alongside the worldbuilding, the incorporation of themes into my writing is something I am good at but not great. I do put an extensive amount of thought and energy into it. Grade: B-plus

Character Dialogue: Of all the skills listed thus far, this is probably the one that I feel I have the most room for improvement on despite already being very good at it. I often envy the dialogue styles of other storytellers, which remain inaccessible to me. Grade: B-plus

Representation: This is something I am mindful of but do not struggle with; it comes fairly easily to me. My biggest challenge here is that some experiences are more familiar to me than others, hindering my ability to represent groups that I am least familiar with. I make up for this somewhat by being naturally inclined to write certain specific underrepresented groups. Grade: B

Plot Development: Not to be mistaken with Plot Conception, farther down this list. I do have good skill at improving upon, expanding, completing, refining, and repairing existing plots, as well as integrating them into the larger story and connecting them with other plots. My biggest weakness in this is the long time it takes me. But in terms of the finished product, I think my plots are highly satisfying. Grade: B

Narratorial Voice: The distinctiveness of my writing, i.e. the obviousness that a given work is by me. I think this is less a developed skill on my part and more an emergent property of who I am and how I engage in my work. Sometimes I do feel like my work struggles to articulate its own identity. Grade: B-minus

Tonal Consistency: Something I continually struggle with. I do tend to be decent at maintaining local tonal consistency, but at a larger scale this runs into problems. Grade: C-plus

Plot Conception: Ironically, I used to consider myself a plot-driven writer and rate my plotting skills as excellent, but over the years I have come to take an almost diametrically opposed view. I really struggle to conceive of new plots and organize them coherently. I enjoy doing it, mind you. But I am not the strongest at it. Grade: C

Brevity: Double F-minus

i think of my strengths specifically as a story teller and i think the fall on the following order:

Character creation and dialog

i think this is what i excell at, im good at creating characters that are brimming with personality. im pretty good at making them fun and memorable. at giving them a schtick, at making them iconic. and also i think im pretty good at giving them a distinctive voice that feels all the same naturalistic. when they talk it feels organic, it feels like an idea flows from one point to the other in a way that is well paced and true to the character

2. plot

i think im decent enough at plot, arcs, overarching beats, etc. im good at coming up with the basic macro structures of where the story is supposed to go and what are the key events in that story and i think im good at waving the threads such that they all come together satisfyingly

3. worldbuilding

i think at this i am actually pretty weak, i tend to get caught in feeling like the logistics of it all are weak or poorly thoughtout. the history never makes the best of sense, the aesthetics of the world tend to be sparse and rote, uninspired and very derivative. im just not good at tending to those gardens. my worlds tend to be rather small and self contained.

[yaatra]

Think Shots storyboard Notebook is great for Filmmakers, Writers, Cartoonists , animation , layout artist , Flip book artist , Advertising, Blender artist, creating documentary and Game designers . With this storyboard Notebook and sketchbook create your own storyboards of any length, whether it is a six page story or more than twenty page story. This storyboard notebook is designed to organise your story ideas in such a way that is easier to read and revised again and again. Think shots can be used at any age level, encouraging young storytellers to practice in the simplest form and unleash their creativity . This storyboard can be also used to write novel, short stories and even for creating animated storyline.

click the link

https://www.amazon.com/dp/B09NWQ7MZY

[dutifullyloudmilkshake]

[thewriteadviceforwriters]

✨ new carousel post just dropped on @.thewriteedvice 🕯️

if your scenes feel… flat? limp? like they exist but don’t do anything?? yeah. this one’s for you.

🎯 “3 Writing Mistakes That Make Your Scenes Fall Flat” (it’s giving: harsh truth but make it fixable)

🔎 what’s inside: — the reason your scenes drag — the line writers cross right before they lose the reader — how to actually write conflict without over-explaining everything

plus: a lil save-worthy checklist at the end (you know i got you)

📌 read it on instagram → https://www.instagram.com/thewriteedvice

tag a mutual who starts every scene with “she woke up” or save it for the next time you’re rewriting chapter 4 for the 7th time 😭

View this post on Instagram

A post shared by TheWriteEdvice | Writing Tips | Writer Coach (@thewriteedvice)

[scriptwriters-network]

Next week’s event:

Creating Stronger Scenes and Set Pieces

Event Date: Saturday, May 19, 2018 || Speaker: Danny Manus  || Check-in: 12:30 pm ||

The unit of storytelling in film is the scene. This class reveals the elements necessary to crafting strong, dynamic, cinematic scenes and set pieces that will grab audiences, exploit your hook and progress your story. We’ll break down the structural parts of a scene, the questions you need to ask while writing your scenes, the different types of scene conflict, how to know when to start and end your scenes and transitions, how characters and scenes work hand in hand, and how to create set pieces that will sell your concept.

Danny Manus is an in-demand script consultant and CEO of No BullScript Consulting (www.nobullscript.net), and was ranked in the “Cream of the Crop” Script Consultants by Creative Screenwriting Magazine. He is the author of “No BS for Screenwriters: Advice from the Executive Perspective” and was also named one of Screencraft’s “25 People Screenwriters Should Follow on Twitter”.

His clients include finalists and winners of numerous prestigious contests including the ABC/Disney Fellowship, Austin Film Festival, PAGE Awards, Nashville Film Festival and Scriptapalooza. He has worked with over 1,200 writers and has consulted on produced projects including Strangerlands starring Nicole Kidman, I, Frankenstein starring Aaron Eckhart, and In-Lawfully Yours starring Marilu Henner. In 2017, he was also a Consulting Producer on the TV pilot Millennial Rules, starring Olivia D’Abo.

Danny has taught seminars and workshops across the country at Austin Film Festival, Producer’s Guild of America, NY Film Academy, LA Film School, Great American Pitchfest, Kansas City Film Festival, Screenwriting Expo, Florida Writer’s Conference, The World Series of Comedy, Santa Fe Screenwriting Conference, Willamette Writers Conference in Portland, Las Vegas Writers Conference, The Writers Store, Vancouver Pitchmart, Scriptwriters Network, Sherwood Oaks College, LA Valley College, etc., and to groups in LA, NY, Chicago, Dallas, Idaho, Iowa, Phoenix, Nebraska, etc. He’s also appeared as a guest on BBC Radio, Film Courage, and popular podcasts including Trigger Street’s Script Reporter, Sell Your Script, Write Hot, and On the Page.

Danny is also a screenwriter (hired for two writing assignments in 2016), and is currently a Development Consultant for Symerra Productions. He was previously the Director of Development for Clifford Werber Productions (A Cinderella Story) where he sold the family adventure project “To Oz” to United Artists, and was instrumental in developing numerous projects including Sydney White starring Amanda Bynes and Just Add Water, starring Dylan Walsh, Jonah Hill, Justin Long, Melissa McCarthy and Danny DeVito. Before launching No BullScript, Danny also worked as a script analyst for ScriptShark.

Danny was also a Development Consultant for Eclectic Pictures (Lovelace), which had a deal with Millennium Films, and the Director of Development for Sandstorm Films, formerly run by writer/director J.S. Cardone, which had a first look deal at Sony Screen Gems and a development deal with Top Cow Comics. He was instrumental in developing a number of films for the company including the #1 Box Office hit The Covenant, as well as 8MM2 and Sniper 3. Danny interned at Columbia Tri-Star in the Television Development department and at 20th Century Fox in Feature Casting.

Danny has taken over 3500 pitches, written over 250 articles on writing for numerous websites and publications including ScriptMag, and has been a judge for PAGE Awards six years running. Raised on Long Island, NY, in an amusingly dysfunctional household, Danny holds a B.S. degree in Television with a concentration in Screenwriting from Ithaca College. You can follow him on Twitter @Dannymanus

Please REGISTER before 10:00 pm on Thursday, May 17, 2018.

Please register by clicking here.

[ismail943]

🔰Mastering Your Scenes: Your Blueprint for Success🔰

Best Selling ⭐⭐⭐⭐⭐ 10+ ratings

    Click here: https://www.amazon.com/dp/B08GY843L4 

Description:

So you want to write an engaging scene, do you?

This book was written with one main purpose: to help give authors a creative boost in their scene writing and toss writers' block into the oblivion of the abyss. In order to accomplish this, each chapter is written in a workbook-like format so that the steps provided can easily be implemented after they are explained. For each element of scene writing that is presented, J.A. Cox explains the How, Why, and When of its use along with his own description so that the information is easy to assimilate. He provides copious examples from his own writing of these elements in action as well as from shows and movies.

Here are the elements that you will be learning about:

Sketching

Location

Time

Characters

Perspective

Resistance

Objective

No new-fangled way of writing is about to be forced on you, but advice offered to help you realize things you are likely not seeing as you struggle to come up with ideas. As you make your way through these pages and consider these elements, you will end up in a state where it is difficult to shut down the tsunami of ideas that will come your way.

Finally, there is a completed outline format that can be used over and over for every scene you write to keep that creative pump primed. Therefore, you will no longer have to fuss over figuring out what prompts or hooks to use to start a chapter as your answer will come to you as you outline your scenes from the various questions provided for you to ask with each element.

This book will revolutionize the way you look at your scenes in the future.

[jionline24]

🔰Mastering Your Scenes: Your Blueprint for Success🔰

Best Selling ⭐⭐⭐⭐⭐ 10+ ratings

    Click here: https://www.amazon.com/dp/B08GY843L4 

Description:

So you want to write an engaging scene, do you?

This book was written with one main purpose: to help give authors a creative boost in their scene writing and toss writers' block into the oblivion of the abyss. In order to accomplish this, each chapter is written in a workbook-like format so that the steps provided can easily be implemented after they are explained. For each element of scene writing that is presented, J.A. Cox explains the How, Why, and When of its use along with his own description so that the information is easy to assimilate. He provides copious examples from his own writing of these elements in action as well as from shows and movies.

Here are the elements that you will be learning about:

Sketching

Location

Time

Characters

Perspective

Resistance

Objective

No new-fangled way of writing is about to be forced on you, but advice offered to help you realize things you are likely not seeing as you struggle to come up with ideas. As you make your way through these pages and consider these elements, you will end up in a state where it is difficult to shut down the tsunami of ideas that will come your way.

Finally, there is a completed outline format that can be used over and over for every scene you write to keep that creative pump primed. Therefore, you will no longer have to fuss over figuring out what prompts or hooks to use to start a chapter as your answer will come to you as you outline your scenes from the various questions provided for you to ask with each element.

This book will revolutionize the way you look at your scenes in the future.

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🔰Mastering Your Scenes: Your Blueprint for Success🔰

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Description:

So you want to write an engaging scene, do you?

This book was written with one main purpose: to help give authors a creative boost in their scene writing and toss writers' block into the oblivion of the abyss. In order to accomplish this, each chapter is written in a workbook-like format so that the steps provided can easily be implemented after they are explained. For each element of scene writing that is presented, J.A. Cox explains the How, Why, and When of its use along with his own description so that the information is easy to assimilate. He provides copious examples from his own writing of these elements in action as well as from shows and movies.

Here are the elements that you will be learning about:

Sketching

Location

Time

Characters

Perspective

Resistance

Objective

No new-fangled way of writing is about to be forced on you, but advice offered to help you realize things you are likely not seeing as you struggle to come up with ideas. As you make your way through these pages and consider these elements, you will end up in a state where it is difficult to shut down the tsunami of ideas that will come your way.

Finally, there is a completed outline format that can be used over and over for every scene you write to keep that creative pump primed. Therefore, you will no longer have to fuss over figuring out what prompts or hooks to use to start a chapter as your answer will come to you as you outline your scenes from the various questions provided for you to ask with each element.

This book will revolutionize the way you look at your scenes in the future.