Envisioning the Movie Dimension of my Fairytales!

Dear folks, for there is pressure in fast writing, these days I am engaged in reading the book of Kehlmann "Measuring the World" with Humboldt & Gauss. But it seems I should think holistic in terms of my collaborations and take advantage of past help in the future...! I have been discussing possible collaboration for my novella outline with my writing consultant Laurie Lamson and right now, influenced by Gianni Rodari (the method salad of fairytales), before rights etc, the only thing I can say is that I take advantage of the fairytale of Cinderella! Snow White for When Magic Truly Happens, Cinderella for my next book, where could these stories lead my creativity? In When Magic Truly Happens there's primitive transformation from my part in terms of making it work as a drama, in the movies in other words...! I am planning to do exactly the same, even better this time, with my new fairytale fantasy outline, deciding to focus with Laurie only in the research, planning, outline and concepts part now that the screenplay coverage of Wescreenplay is also a choice! Even if a story is not initially made for the movies, there can be plenty of creative transformation to make it work and transformations should be my focus right now in general. But let's just view facts analytically:

 

Leading figures in screenwriting in Hollywood such as Blake Snyder, John Truby, Robert McKee, prove with their own examples diversity matters. So do money and movies! Their expertise spans not only in screenplays, but stories, novels, playwrights, etc. But these are instructors and school businesses claiming top distinctions for their students and themselves in the movie industry. It will be an advantage for me to learn how to transform both my current fairytale (When Magic Truly Happens) and my forthcoming novella for the cinema...! Let me now explain what this means with details. Stories, novellas and novels sometimes enjoy successes such as movie adaptations. But these are not success stories that can occur without planning and vision. When a writer writes a story, to work as a drama means that the actions, scopes and objectives of each character are all aligned onto a spine line (exactly like a fishbone) where the head of this fishbone leads to the super-objective of each character (what he seeks above all) and the super-objective of the movie in total, if the dramatic fishbone is being applied onto the movie level. The story should be focused in 1 world, 1 time frame (specific or vague in fantasy writing), 1 star character and only 1 dramatic element being taught to the character as the morale of the script.

 

If such alignments do not exist (for example if the script deals with lots of different issues), the book can be excellent as a story but it might not work as a movie. But getting the entire material into the writer's hands, he/she realizes the way messages and dramatic elements evolve, that it's super easy to TRANSFORM the script based on many CHAINS of meanings (to make the fishbone work) and adapt it to work for the cinema...! First of all, you shall not confuse drama meaning made as a movie with when a writer writes drama such as Coelho where this is the genre, the thematic category of the script, the kind of word. Thinking of scripts in terms of getting working notes from specialized professionals is of major importance right now for me as I wouldn't like to be blocked with STATIC conceptions. Furthermore, is it necessary the way short stories, novellas and novels work to be highly specialized in exotic material such as learning all about specialized theater, literature and short movies? The answer is no! Being prone to specific material is wrong. A simple story can be strong and engaging enough that if being dramatized (and I am not talking here about writing it as a screenplay but still existing on the prose level), it can work for the cinema!

 

Conclusively, my creative work so far, meaning my romantic drama The Words of Emily Logan and my fairytale fantasy pocket book When Magic Truly Happens, have helped me clear up not only what I seek as a writer but how I should think of the future, as a writer. You can get to know my work if you simply navigate at the page I created in Independent Authors Network (IAN) and find out about my books already attached in this article with a simple click, here: bit.ly/39chSSQ

 

Have a great time folks!

The Art & Science Of Fantasy Writing!

Where have you gone to, dreamer? Whose dreams are you dreaming now? I’ve memorized this quote from an epic fantasy game, known to many of you as Dreamfall. The edition included game over options and it seemed quite uncomfortable for me to play it back then, even though it couldn’t run properly. Perhaps I should now watch it as a movie in YouTube to get the complete perspective! What am I talking about? About the importance for creatives following their own dreams, listening their own voices and not somebody else’s. Journeying the creative spirit sometimes blocks us in mammoth problems that test our ideas on group norms, socializing, leadership or proper behavior. But this is the general mindset now applied in creative writing.

Crafting a story on what you do, why you do it, how you do it and where do you think it will take you, is important to get freed from dogma at somewhere around the middle of the journey. But then you seem haunted by another reality: kickstart, middle part and end of story. Fiction literature is influential enough to make our imaginations hatch through the power of imagery, wannabe robust writing and vocabulary, plot and taste. Imagery is all about imaginative language with pictures, sometimes intended to uplift our minds to the spiritual. There are five main types of imagery, each related to one of the human senses: Visual imagery (sight), Auditory imagery (hearing), Olfactory imagery (smell), Gustatory imagery (taste), Tactile imagery (touch) plus another two: Kinesthetic and Organic.

Kinesthetic has to do with the entire, complete, full sense of experiencing a project whereas organic has to do with all parts, schemes and canons of written word embraced in a script as a whole, an organism in other words. Nevertheless, besides specialized analysis we all acknowledge that the power of the image in our century has been tremendous, huge. First of all, sight could be addressed to the mesmerizing descriptions of how we envision a world, how can a universe be created by music, how The Battle of Hogwarts begins. Hearing is all about dialogue, noise, explosions, etc. Smell and taste become somewhat detailed descriptions of the exact action. And touch does not refer to The Untouchables but becoming tangible e.g. with objects or artifacts.

Let’s now get to some bare facts related with fantasy. Facts, contrary to fantasy have to do with all these allegories, messages in a script, parallel realities, experiences of the writer in the real world that show us that fairytales may not be that fairytales after all, moving on with irony, distortion or just criticism of what happened. Epic fairytales have dealt as well with the issue of death and resurrection, issues of temptations that couldn’t be more dramatic nowadays, the issue of betrayal, relationship issues or plain portrayal of one problem solving. So, the writer obviously asks: How am I supposed to find my true and unique voice in all the above? The answer, for me at least, couldn’t be simpler: Exposition.

Nevertheless, this isn’t a one size fits all solution nor you are obliged to follow it. Exposition to scripts and content, exposition with education, exposition with creative experimentation, exposition with arts and sciences, exposition with technology, exposition with argumentations, exposition to business, have all been extremely strong experiences for me that led me to venture with writing and screenwriting. As I have stated above it’s all about the kinesthetic you, that differs from one person to another! It’s all about not fearing to get crushed. So, how can all the above be integrated to fantasy stories? Making choices, choosing sides, creating, laughing and crying with your writing, getting organized at some point, will probably make the wish come true.

For me, it has been an amazing experience that I would like to share with you. So, I will motivate you to navigate my Independent Authors Network page I created a little while ago. You can see my books already attached in this article, here’s the link: bit.ly/39chSSQ   

Creative Engagement With Fiction Literature!

The White Rabbit

Hio folks, there’s plenty of enthusiasm in my mind now that sooner or later I’ll be engaged again in writing a fairytale fantasy in Greek, as a novella. That’s why I wanted to grab this opportunity and talk about fiction literature, talk about fantasy universes such as this of the Narnians, or Alice’s in Wonderland or Harry Potter. And state my interests in these as a writer! First of all, can there be fiction literature if ‘world building’ does not exist? What is the role of symbols and semiotics in fiction? A necessary evil or a creative elixir? Furthermore, what’s the power of all the above not only to litterateurs and writers but free thinkers as well? What’s that unique and special about fiction? Let’s just take things analytically beginning from storytelling. For every human being, a writer or not, effective storytelling is about freedom and control… When the narrative works, we’re free to enjoy our success. When the narrative is blocked and blocks us as well, we have to control it! Finding a pathway and a genetic compass so that words can flow in ages of drought means the most for everyone.

 

My fairytale fantasy

Being a free spirit, freed from dogma is a vital element for writers who want to uplevel their creative power. It’s also a canon of losing yourselves in good fiction. The freer the mind the better the fiction hence being eclectic in creative writing choices, further uplevels one project. Gardens and flowers with human faces e.g. in Alice were magnificent stating the surrealistic will of Man to communicate with nature, as well as with talking beasts, wands of sorcerers that choose their master or becoming lyrical and poetic with aspects affecting the creation of cosmos. Fantasy contradicts reality whereas the myth and the fairytale are certain types of stories. Moving away from world building in writing, towards the area of story-building for the writer can have a tremendous impact in cases where the creation of 'a world' is not feasible in terms of economy of language as well as the writer’s vision. World building takes volume of writing whereas there have been legendary stories that did not follow that pattern.

My romantic drama

Can there be explainable science fiction, simplistic, without exposing readers to thread loss or lack of understanding? Philip Pullman’s books has been one such case in terms of “His dark materials” trilogy where they also act as an example of using symbols and semiotics effectively. You simply want to make it look scientific, or pseudo-scientific and keep addressing to young children without worrying they won’t understand. It takes talent and persistence from the writer in terms of using effective language. With that in mind, choices matter. It simply matters what you choose for a scientific paradigm. It can be a telescope, an invention, a mechanism but not Large Hadron Collider. Readers just need to know without knowing really! It’s where all math finally work! The previous arguments pose the exact distinction of whether notions and meaning are a necessary evil or make the work look simply majestic and act as the creative elixir for scriptwriters. 

Conclusively, I have always dreamed of fiction literature as an independent and special genre, a type of projects that require special care… So, why’s that at the end of the day? As Man is too small, restricted and fragile to understand all secrets of our cosmos, all the magnificents of nature, the universe, God or magical realism, he can still do so with fantasy, metaphors and symbolic logic. That’s why I believe carefully chosen themes in fantasy matter. For those of you that would like to get a first sample of my fantasy writing, you can navigate at my Independent Authors Network page where I portray the total of my work so far. It’s the books you can see attached in this article as well! Here’s the link: bit.ly/39chSSQ