Anytime you are writing about your writing, you always want to think in terms of actions. Both the action of the plot, and more critically the action of your characters. To do this well, you must harness the power of Emotionally Charged Action Verbs.
Most dramatic writers are obsessed with dialogue. Dialogue is important, obviously, but it’s best to think of dialogue as the vehicle in which your scenes move. The engine is the actions. Doesn’t matter how slick your Porsche looks from the outside, it ain’t gonna go anywhere if it’s running on a Ford 4.2 V8 (and yes, I had to google that in order to make this metaphor work.)
Emotionally Charged Action Verbs are particularly useful when crafting a Logline because of the need for brevity. But let’s pretend the following is an excerpt from a synopsis, treatment, or outline. (More on those in another post).
A logline is a one to three sentence summary of the main elements of your story told in an emotionally engaging way. Think of it as your ultimate elevator pitch. The term logline is mostly used in the Film/TV industry, but I find it useful for any type of dramatic, narrative storytelling.
Loglines are incredibly useful when you’re trying to market a show, pitch an idea, or apply for grants and awards. The better you can succinctly communicate your story, the easier it is for people to jump on board.
But Loglines can also be useful for you, the writer, to help shape and heighten the arc of your characters and story. Let’s dive in. Continue reading WAYW: Loglines
One of the most important skills for a writer is being able to write ABOUT your writing. Ironically, this is often one of the hardest types of writing for writers to do, and many – if not most – do it badly.
When writers don’t know how to write about their writing it suggests a very damning truth: She hasn’t done the work to craft a strong, compelling, or emotional story. This isn’t just happenstance. Being a good writer and being able to write about your writing are tightly connected. In other words: good writers have an awareness of how their writing works. Bad writers either don’t know, or don’t care. Continue reading Writing About Your Writing (WAYW)
The term isn’t mine, but the problem is one that lots of writers fall into. The Donut Problem describes what happens when your main character is nowhere near as interesting or as active as all the characters that surround her.
The other day a random thought popped into my head: Why do superheroes so often wear capes?? I wondered if there was any literature on the purpose of capes in these superhero myths.
One thread suggested that there was a link from Zorro and/or The Three Musketeers. Those swashbucklers being the original “super heroes” of literature and, given the time periods, natural cape wearers. This then held over to Superman and beyond.
Others discussed the utility purposes of capes such as it’s assistance with aerodynamics, but at least according to one study on the phyiscs of Batman’s Cape (yes…an actual study) that seems incorrect. Other purposes include making it easy to hide or confuse enemies, being a protective shield, and acting as a symbol.
My favorite blog is this one that asks Do Superheroes Really Need Capes? The author basically decides the purpose of a cape is purely for the sake of fashion. It even goes so far as to depict some of our well-known cape-wearers looking rather silly without their capes.
I was disappointed to find that there was no deeper symbolism to be read into it. Something like “the fluid movement of capes create a sense of the ephemeral, and as such give human shapes an otherworldly form.”
So, I guess without that I’m with Edna from Pixar’s The Incredibles. As she puts it: