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)
I saw a couple new plays over the last few weeks, and it got me thinking about structure.
There seems to be a trend with young playwrights that rejects the “restraints” of traditional structure. With nothing worthwhile to replace it, however, rejecting traditional structure feels like a rejection of any structure at all. The resulting play feels like a meditation on a theme at best and a plot with no climax or catharsis at worst.