What are the advantages and pitfalls of using real places and names in your writing? What should you fictionalize, and what can you leave the same? It all comes down to genre expectations, how close to reality you want to be, and not pulling your readers out of your story!
If your story doesn’t have a bad guy, what do you have? How can you use stories about nature or society to craft a non-personified antagonist? Do you have to have characters involved? And are these external, or internal forces? What effect does this have on your story? And how can you keep a reader interested?
Why is it important to take emotional risks in your writing? And why is it easier for some writers and not for others? When should you take the risks? And how does it change from fiction to creative non-fiction? Letting your mess onto the page can turn a good story into a great story, and it all starts with what you are passionate about.
What is the difference between script writing for the screen, and novel writing? How do the writing processes overlap? And how beneficial is the established collaboration within screenwriting? What are the benefits (and pitfalls) of the technicalities and structure of screenwriting as a novel writer? And are we tapping into our knowledge of film? Go out and study structure, story, and screenwriting! An informed writer is a better writer!
Alida, Kathryn, and Matt welcome designer Daria Brennan of Beegraphica to SWRT. We take a look at the 6 side by side pairs of covers Daria brought us to examine and discuss.
I'm Alida
I help people express their gifts to the world.
I do not believe in formulas. I believe that the stories we are compelled to tell the world make demands on us, and it is our privilege to meet those demands in order to reach the most people in the most authentic and compelling way possible.
