Story A: The Transfigurations Of A Poetically Inspired Scientist!

This is a story about the things that change, a story of transfigurations that depicts how from the old occur the new...! 

 

Biblically inspired, writer and physicist Noah discusses with his son Robert inside the abyss of his leather-bound books into the library of his study office.

 

Visions and rebirths take place and suddenly Noah and Robert are witnesses of the re-animation of Noah's past. The entire set of characters he once interacted with are there, into a unique space to interact with him and lead to enlightenment...

 

Will he manage to accept the power of his past and his ideas?

 

INT. NY – STUDY ROOM – DAY

NOAH sits on his leather chair at his study office in his apartment. As a background, including the two side walls, there is a library with leather-bound books on the shelves of which there are numerous wooden constructions and sentimental cultural items including scientific equipment.

VOICE OVER

This will be a story about the things that change, a story on transfigurations, to portray how from the old occur the new, a poetic testament of NOAH revealing how one man’s vision can be shifted into the universe of words and change lives! A physicist and a writer, that is Noah, is found at the in-between of his past life with the future exploiting the precious love of his family to change perceptions. Who is to say about destiny in front of God’s eyes?

NOAH is discussing with his son, ROBERT, at his office. They read John’s Revelation. ROBERT closes his eyes to start envisioning the city of God. There’s an otherworldly electricity in the atmosphere at the shades of dark brown and creamy light pink, equivalent with the interior decoration of the office.

ROBERT

And out of precious stones, gold and several other artifacts there will be created a Heaven in which there will be no anathema and people there will reign as kings forever!

Robert soliloquizes. Noah stares at his son with an approbative look. Immediately afterwards Robert slightly opens his eyes and uses his imagination to start transforming the environment around him.

ROBERT

At the beginning, there is only word. And word will become the poetic tool of God to create a universe that is not made up by atoms but by tiny stories…

NOAH (passionate and inspired with his son)

You know it, Robert! The power of God is inside of you! What is it that’s keeping you from accepting God into your deeds and actions and transform your life?

ROBERT

Our life, father, is a far cry from what once it could be. The question is, are we willing to fight and adapt and struggle to get back to our own Belle Epoque of creativity?

NOAH 

(disappointed)

Naaah… We got disappointed once but life is for those who keep trying!

VOICE-OVER

There was always a vision inside Noah’s head, the windswept sperms of which were being reflected into the environment and were being got back through the prism of words inside his online diary. As if this was a canon that perhaps, what he once thought it could be his own identity was not what it seemed and there were always paradigms and humans from the outside, with the same common basic needs with him that were guiding his thoughts and actions. Even though not the perfect decision maker, he was a great listener. But now, there was something in both of them and their thoughts that was being rebirthed around them, as an invisible miracle or an act of Renaissance.

INT. NY – LIVING ROOM - DAY

Paintings and figures were being reanimated, leather-bound books onto the tables were being opened to emit stardust, men from the past were being brought back in his memory and even this fatal period of being an entrepreneur would remind him the bittersweet days of his glory but also the other side of doom.

ROBERT

As a writer and a scientist haunted by the excitement but also the ghosts of the past, I believe dad you possess the perfect raw material to refine your future. The question that remains to be answered is…, are you willing to?

NOAH

It’s still… it, Robert! Notions and words and ideas isolated and personified can be the best argument when we read literature for example but I still can’t explain it in real life.

ROBERT

Then perhaps it’s the interpretation that you give. A selfish approach with which you complete the entire work as a team, on your own thoughts and then cancel the other side…

NOAH

A team… Or an imagined dream team… I guess it’s just a matter of time and mind…

A sudden shift into Noah’s and Robert’s study office and John’s Revelation that was being left onto the desk was being opened to create apparitions in the room. As if all the people that Noah interacted with at the past, were being brought back as avatars from parallel universes, his beloved ghosts, and they would interact with him, emerged from the spacetime of Revelation, only to lead to catharsis.

FIGURE 1

You’re being lost inside the flow Noah…! Management should be all about spirituality!

FIGURE 2

These should be moments of great decisions…!

FIGURE 3

Congratulations! I wish only distinctions for you Noah!

FIGURE 4

I can’t found a theory if I don’t accept a hypothesis externally defined! For Einstein, this was the speed of light…

As a stream of consciousness and memories, a light beam risen from the book and travelled up to the living room, these apparitions into the air had come back, so now Noah’s mind was being bombarded by a mixed reality of emotions and thoughts.

ROBERT

I believe mocking is a repetitive motif when it comes to your history dad… Dirtying the sacred maybe?

NOAH 

(shocked and reactive)

I don’t know! I just don’t know!

ROBERT

Any idea of how to honor your past and the memory of all those you left behind?

NOAH 

(shocked)

Words and patterns… Scientists are makers of patterns…

Noah immediately afterwards started to touch and play with the wooden constructions and the scientific equipment that was found in their living room. A wooden globe standing in the middle of it, a small telescope onto a shelf, a ship resembling the boat of Columbus, a kaleidoscope, Noah would turn around the medium size space and would fight with his ideas and emotions.

NOAH (CONT’D)

I guess we shouldn’t put the blame to men that did everything they could and they just had no more to give, right? Or it’s just that they couldn’t give…

ROBERT

The future holds secrets only the past can reveal… And in this journey, nothing is what it seems and nothing lasts forever!

VOICE-OVER

Noah has been a scientist and a writer who would lack the motivation to acknowledge the good that was being done to him and only accuse others based on their weaknesses and personal attacks! Not until the revelatory experience had he realized destiny was only known to God and unless he could find a way to reconciliate with him and his own stories, he couldn’t be expecting of more to come… And even though perfection belongs to Him and only, force majeure is a reality of humans, right?

The Entire Education Is Theater "For Writers"...!

Hello all creatives and social networkers around the world. Today’s title implies a very important discussion, hence I will take care of presenting it so, as well! Today I will try to pose the educational, experiential as well as artistic sides of getting into the minds of characters, walking in our characters’ shoes and find out what makes them believable for writers, as well as general tips of … what actually works (you have a first taste by the title 😉)

I have been taking very analytical lessons by ScreenCraft, an organization located in Beverly Hills, California, on developing dramatic movie ideas. So, this is where the origin of the wonder “getting into the minds of characters” actually began. Did they bite the forbidden fruit? No. Did they say something they shouldn’t have said, heard something they shouldn’t have heard, did something they shouldn’t have done? It depends on the viewing angle…!

 

Those of us who have seen La La Land, would probably give everything to feel and live like its main protagonists, Sebastian & Mia, even if it deals about the joy and pain of pursuing your dreams. Today’s discussion is about the analytics all around it, not just the film but the experience of any of it. You may have seen High School Musical, or Step Up 2 The Streets, or Good Will Hunting, or Dead Poets Society or many more films independent from the genre and now many of us are writers. When we create an experience with scenes and narrative action, we ideally need first-hand experience about those scenes and actions. Ideally, we should reveal as much information as possible in our scene headings that play an organic part in the entire screenplay, it’s how we set up a story dealing basically with personal, indirect (relevant) or in our best of options, educational experiences, this actually means first-hand knowledge. Let’s find out where this leads before we draw our first conclusion. Many of us when we eventually have to explain the conflicts of character development and actually develop characters with scenes and structures, we come up with topics, ideas and analyses that we have to experience them to make them believable, how could we possibly know how the character acts and behaves? 

 

For example, in the first draft of my 3rd book that needs plenty of work, I talk about a ballerine. A ballerine by whom I feel attracted, so if I’d like to describe how she communicates, behaves and acts with her dancing students I would have to come up with relevant descriptions… Perhaps someone else would like to describe the acrobatics of Cirque Du Soleil, or if it's a musical or a film with dancers, it’s the setting of a “screenwriting story” that determines what’s necessary and what’s not. For example, the screenwriter in La La Land is not expected to come up with lyrics, he talks about music numbers but someone else will come up with writing music. Eventually though, the writer has to deal with the method, the research, the atmosphere, the imagination and the acting of the script. As well as beginners say, we have to be familiar with the material…

1.) What would my character do in this situation?

2.) What would hurt my character most?

3.) How would my character react to this conflict?

4.) How would my character shine in this situation?

 

That’s The Magical If  😉

 

Conclusions rise from the fact that to develop characters effectively we must deepen in their psychology, we must deepen in their worlds and their routines, we must deepen in their dreams and nightmares and wonders, we must deepen in their habits and tastes and we do not have such an expertise. All the above define the limits of where writing what we don’t know of stops, and we have to come up with writing on what we feel familiar with. This will give us a sense of our repertorie, but again, to make quantum leaps we need to work with concrete paradigms. 

 

In the competitive world of USA actors in America, the big names that are professionals are not mere professional actors but professional celebrities. Projects and writers have bombarded us with Hollywood’s next flair of the week relevant with an artist’s journey, musicals, melodramas, etc but like writers, both actors and writers have to get along with agents, have to market themselves, have to do public relations, have to give interviews, have to work with publishers and the internet and these movies describe the overall feeling and excitement of growing up as an artist… If we’d like to portray hunting fame in a screenplay and put an actor socialize, are we aware of public relations? Do we get the overall atmospheres of festivals and journalists surrounding them? Eventually we will come up with scenes and subtractive logic in a screenplay, but “can we”, though? If we possess the experience, it’s fine. If we don’t possess the experience, we should seek something relevant (indirect) that we possess. We should definitely count on reading books, watching movies, talking with people and the ideal is that we could be educated on these things. If La La Land deals with Mia becoming an actress, what’s the dimensionality of being an actor?

 

In ancient Greece the paths of knowledge had been parallelized with drama. The entire education was a theater according to ancient Greece. This took place for no matter what happens with our educational lives, our professional identities and our expertise, when we have to portray characters doing all the previous we eventually have to come up with our most fundamental conclusion for today that “right education” means “right theatre”…! For example, those of you that will take a look at my profile:

 

A.) Communication

B.) Conflict Management

C.) Emotional Intelligence

D.) Public Relations

E.) Marketing

F.) Writing – Screenwriting

G.) Psychology Elements

H.) Logic

I.) Career & Strategy

J.) Scaling Up

K.) Fantasy

L.) Being an entrepreneur of one’s self

 

All the previous dimensions have been part of my educational profile and are also part of an actor’s life as well…! In The Words of Emily Logan, Joel & Emily begin as student actors in high-shool and later on Joel will deal with professional drama and Emily with English literature. Developing a screenplay requires a packet of things. Do my characters portray that packet? If I’d like them to deal with personal development, it’s very easy to theorize but eventually, how can our previous dimensions help us in terms of building up their strengths, weaknesses, opportunities and threats in their profiles? Better visualization at the end of the day for the actors, means better visualization of my profile, direct or indirect.

 

Of course, if someone writes action, or thriller or sci-fi, it’s both an actor’s educational dimensions (he will have to sell it to actors eventually) as well as education relevant with helping the genre of the script deal with the important things of its subject matter and make the script shine. Can we? Personally speaking, attending not just introductory classes on screenwriting, but the analytical art presented by ScreenCraft, made me realize my education is the other side (the real one) of an actor’s life, as a writer and by being both me and the actor who we truly are! Actors need a very strong inner life to counterbalance their fantasy life and quite often, this means being well-searched on the above fields…

 

Realizing that right education means right theater, we realize that the building blocks of a writer’s art and creative profile are the building blocks of his/her artistic materials. Someone who is keen on history will develop historical novels. Someone who likes science will engage in science fiction 😉 Someone else will produce courtroom drama because he has experience with law and justice, like in A Few Good Men, or A Time To Kill or Erin Brockovich. To come up with material we have to put ourselves in our characters shoes and find out ourselves, how the heck are we going to put them in believable situations that seem real. If someone wants to get to know a character really well, it’s the writer’s subjects and expertise that need becoming aware of it, building it as well as refining it… Have you felt that in your interactions and feedback? Quite often, it’s about people we assume to know, but we do not quite know really well after all… Have a great time folks!

On Complex Characters & Their Dialogue

Hello folks, we’ve been discussing art and writing from a more existential point of view so far. Meaning, essential and elemental organic concepts about the world of scripts and writers’. One such has been character creation. So far, I’ve stated the necessity that all characters are being portrayed and displayed through their profiles and these being demographics, psychographics, education, economic background, relationships, strengths and weaknesses, goals, etc. Nevertheless, discussions being made so far relevant with many topics should include the writer’s ambition to reach closer to execution and not just an intellectual discussion. After all, it all ends up to characters in screenwriting. In pure literature for example, the majority of sheet space is devoted to advanced descriptions outside the characters’ arena so what is left for a well-developed cast is much smaller. Or maybe we should judge the script as literature and not a final draft for the movies to seek different target audiences.

But what about flat versus complex characters and their dialogue, in general? Flat is the opposite of complex. Complex characters are real and multi-layered 3D characters whereas flat characters are one-dimensional characters. Many writers as we write, we expose our knowledge and experiences and ideas as a whole and right afterwards we distribute this model to everyone, in later stages this might be wrong especially if the majority of this displaying occurs at the dialogistic level. Better examples may be understood by you in terms of earlier discussions on the unification of literature with screenwriting. When it comes to characters information delivered is not valid unless it is delivered in a physical fashion. It doesn’t matter how characters talk but the necessity of them being absorbed in specific building blocks of writing, into specific scenic spacetime with scene headings and themed activities better elaborated by analytical discussions and advanced vocabulary dependent on these specific structures…!

All I am trying to venture today is to discuss closer to execution… Still, do the above guarantee the writer’s memory on everyone? You would say there should be characters’ development not in our minds but on arguments by design. Multiple characters’ development where if so far, this meant the single distribution of the writer’s idea and the sharing of his ego multiply, now we have to come up with independent character analyses and independent creative development, where such descriptions should be bound by mentioning exact scenes where characters’ attributes are visible. With this and that, discussions judge the necessity of development not in the script but surrounding to its nature and dependent on the writers’ notes and notebooks, online or offline. Wouldn’t it be wise after all to spend more time on development and feeling successful than thinking overnight and still feel stuck eternally? Have a great time folks!

Interested to find out about the projects that started it all? Get to know my work through Amazon Author Page and my website at Independent Authors Network (IAN):
Amazon Author Page: https://amazon.com/author/makersdust
The Independent Authors Network: https://bit.ly/39chSSQ showcasing Amazon, Barnes & Noble, Kobo & Walmart as well as the diversity of some of my professional pages!

The Unification Of Literature & Screenwriting!

Dear folks, including Jacob Krueger Studio alumni, there’s been a lot of discussion and comparatives related with literature vs cinema. Having understood essentials of more complex scenic action, today I would like to express my points and proposals of what I consider the unification of literature and screenwriting…! Many of us for example have used indirect speech in screenplays but I believe there is a thorough analysis and discussions behind the unification consideration.

We’ve been taught about the necessity or not of juggling information, explanation, description and action in our screenplays. We’ve been taught that too much behavior vs action may be considered passive, about sneaking details in on action and that in screenplays we write only what we hear or see.

But how can we transplant glory in screenwriting? How can we make screenplays be bathed with stardust?

I would like to point out a few key elements I’ve been taught as a litterateur student in Book Laboratory IANOS!

We know for example that narration is being distinguished on the aspects of time and order in terms of linear, circular and non-linear narration. Non-linear is especially true when parallel plots inside the initial one and diving into dreams take place, flashbacks, etc.

There’s the suggestion of applying these in properly formatted structure of screenplays, still audio-visual but more complex storytelling in movie scripts. Can it happen? It’s about craft!

We also know in literature that narration based on time is being distinctive in terms of whether we begin from start or the middle. The first case is being baptized with the name ab ovo narration, the second one with the name in medias res.

Can they happen in screenplays? Properly formatted structure and action, can make this dream come true as well. Again, it’s about craft!

Litterateurs use inclusion of stories in their stories, what we Greeks know as “εγκιβωτισμός ιστοριών”, meaning sub-stories inside the main one…

If there’s communication in action, a lot of things can happen in screenplays, meaning that we can apply this notion as well in the movie script as a result and a byproduct of creativity and craft!

Direct and Indirect Speech as well is being found in Google search and described as a visionary technique in movie writers as a study to be applied in scriptwriting. Again, craft has the upper hand in terms of not embedding unnecessary description in indirect speech.

We move on in literature with structure, meaning the architectural conception, what exists in the story and what not. Here there’s not the tiniest innuendo that this is not an element of screenplays as well. Moving beyond the previous status quo of scripts boosts fantasy!

In literature there are distinctions in terms of time and space. Different time frames and different spaces enrich storytelling. This is being shown in terms of how we set up scenes and how we do scenes in screenwriting. Again, the possible unification outcomes depend on craft!

To understand the big picture, Pen Densham in his book Riding the Alligator discusses through an interview of John Watson that every story in literature as well is being defined by a few critical events known as “Islands of Sanity”!

Here we care about a few bullets not in terms of being static, but that through the continuous shaping of the story inside and out of these key points, we understand their logic, their emotion or even better their rationale and level. Are they mesmerizing for an audience?

That’s the processing and the analyzing part of literature whereas the screenwriter has the option to use the “show don’t tell” technique and land himself as well on what is known in literature as islands of sanity. Again, that’s not mere craft but it’s art and craft simultaneously!

To say the truth, unification of literature and cinema matters for the complexity and dimensionality of the characters and the script. What the audience sees in movie theaters is still explicitly audio-visual but it’s the writer’s technique that makes the story compelling.

Conclusively, having talked about the intellectuality of screenwriting and the visualization of literature, we are now asked as writers to determine where we stand in the above framework and what’s our power with these concepts.

At the end of the day and as a result of an ongoing communication process, what’s the dynamic of a movie idea?

Writing, Acting, Directing: The Regression!

Feeling enthusiastic now that I have started acting lessons, I realize folks that when it comes to screenwriting it is of paramount importance in later stages to get to know the other side, the actor in other words. Especially me that I am fond of writing scripts about “the entertainment industry”, every tiny or bigger detail matters…!

 

Currently I have completed my rewrite and I am thoughtful on the structure of my work that is known to screenwriters as “The 3 Acts Structure”. With this and that I am thinking of its potential progress. Later on, as soon as a script gets greenlit from a studio, it seems that the writer is no longer the lonely king in the entertainment industry, directors and actors have a say on the outcome…!

Me as a writer gets initial credits, even though the final draft may be a product of many writers, where the percentage of credits of each writer depends on many factors but is surely dependent on the relationships with the director and the actors as well.

This is why speaking the same language and reaching big lengths in art matters. But what matters more as the title of this post suggests is the continuous regression between 3 different arts, writing, acting, directing. In the beginning, the nature of this regression looks like a mosaic. We’re looking for tiny arguments and small axioms that shine a light to our life. 

Then we go deeper and deeper until we realize that writers and artists independent of their education, must have a crystal-clear perception of the richness of their vocabulary, if they truly want to achieve goals and this is under no circumstances revelatory of previous comments on ambiguous school experiences.

In any case, the above do not indicate for writers a one-off process and it depends on the persistence and the hard work and the responsibility of the creator or the actor to complete his vision and reach personal fulfillment through his work. Isn’t this the dream after all? Have a great time folks!

Writing Vs 'Painting By Numbers'!

Hio folks, I believe creative potential should begin with the end in mind, so, this is the topic of my today’s campaign in terms of writing and movie predictions! I’d like to point out a few cases relative to the statement that writing and literature are not math. Furthermore, being in the middle of getting grades for my screenplay, how can the reality of art override statistics and working for the golden ratio? So, let’s put first things first:

 

Screenwriting coverage, meaning, screenwriting consulting in terms of addressing a Hollywood office finds screenwriters in the middle of the ocean of notes, analyses and lots of performance indices in terms of measuring the effectiveness of the script. To override a reality means to know it too well so that you can break the rules. There are 3 different aggregated evaluations for screenplays that should be confronted by every writer’s creative fantasy so to improve, the grades pass, consider and recommend. Even with Hollywood offices, 87% of scripts get a pass, 10% of scripts get a consider and 3% of scripts get a recommend which is the first Joker of seeing your dreams at the big screen! So, here is where reality gets in and the reality of math gets critically altered…

A screenwriter is being evaluated for overall impression of the script, concept, plot, structure, characters, dialogue. Most importantly, he gets analytical and tangible notes on all the above, being provided with specific suggestions for improvements that can be either something objective or a more general concept. In terms of screenwriting, the writer for his characters is something like their own creator, their God, so it is important to create characters with strengths and weaknesses, characters dealing with conflicts and finding out how they behave in extremes, but more importantly characters that are not invulnerable. For me, this is where the initial vision and dreaming of Hollywood has to reoccur. For what once has been considered fluid, dynamic, flexible and in the middle of a pack of creative goals’ setting, mere validation sometimes makes it static, stiff and a bit sad. To use a scientific term, it’s all about fluid dynamics!

Now, what it truly means to fight painting by numbers and how can working for the golden ratio be overridden? Based on the above, it’s clearly understood that how a writer thinks, takes creative decisions and transforms his word in a piece of paper can determine in the long term his/her economics. We become what we think about… Script coverage judges express from the very beginning that marks should not get you down and that pros deal with the fact that changing lines of dialogue or little scene expressions rarely solves the issue. Pros find the note under the note, meaning, we have to go beyond borders and see behind the script. Judges may be wrong about what’s not working but they may be right that something is broken… So, what’s the surrounding mentality of what’s working and what’s broken? Can a creator discover everything on his/her own?

Writers and especially screenwriters should first of all determine the sources and the ecosystem of their ideas and visions. Even though we all acknowledge that no two writers are ever the same, there has to be an emotional and creative investment on the art, to make it function. Specifically, to know your themes (especially if a writer wants to work on a ‘fine line’ of projects), what inspires you, what influences you and what you’d like to achieve. Even better to know inside out your own thought model. As I have stated above, our thoughts in a process of 10 minutes determine the money we will get in the future! Putting in the same scale art and statistics we discover that gravity holds a special place for art, if the creator learns to open up and more importantly if he insists on assisted self-discovery that can be shaped by numerous forces, who we are and who we are not… Have a great time folks!

The 3 Different Subjects Of Movie Scripts!

 

Dear folks, there’s been enough chit chat so far around the notions that movie script attributes and a few constructed sentences in a script may simply resemble with the person and the fact that the writer is not responsible for what the characters say…! But what does this mean analytically? How does it correlate, if ever, with the quality and the talent of the writer? And how can it be revelatory in later stages, about the writer’s vision and inspiration? First of all, all movie writers have to know they’re dealing with 3 different subjects in this venture: the writer, the role/avatar and the actor! So let me here explain these ‘interesting dimensions’ analytically.

 

A.) The Writer: He/she is the most turbulent of the three when it comes to the creation of alter egos and alternate identities. He/she can be auditory, visual, kinesthetic or even an intellectual (‘digital’, here, is the title in lessons). Digital or intellectual might be rare to occur but it is an essential stage for many writers during their exploratory phase of the journey and coming up with authentic voices, voices that come from the subconscious, how to ‘brand yourself’ as a writer. The other types that deal majorly with the senses and the sense of the organic process of writers, meaning, understanding all the different components of the art of writers that have to function holistically as an organism in the script so that it can be effective, being developed progressively or all along, can enhance the cinematic aspect of things even though everything starts with the script. One of the drawbacks of being alone, as a start, in this role is the potential impossibility of the writer to think of everything, imagine of everything and make everything believable from the start.

 

 

B.) The Role: Here, the best way to deal with something primordial for the writer, at least as a beginning, is one very simple advice, “lend me your ears”. Or to use a very interesting term a producer has created in his book, “asshole proof”. Stay tuned folks, we’re not doing accuracy exercises, at least, not yet. The subject and problematic of this dimension is the entire process of looking to validate and get feedback of your script. From the very moment it occurs, we are found in the middle of the ocean trying to figure out the words, acting like a wordslinger, guessing meanings and trying to make all aspects of our language finally work, only to find out we start to lose the edge. Why’s that happening? Remember the concept all along that we’re dealing with 3 different personas, not one, neither two, make it three baby uu uu yeah. The writer has imagined an alter ego that must finally be put into a form. Then this form, the avatar, becomes an independent character and consulting seems to become a one-way ticket. Then someone you completely have no idea of, has to read your script and say yes. How the heck should we come up with such a unification? As I stated in the beginning it’s all about listening. Listening to your characters, the notes you got, your experiences, books that you may have read about all sorts of things, talking about the multilayered web of cross-checking and validating your language. Accuracy should never override the joy of creation that proves the writer is not an asshole, he just tries a lot to become one!

 

 

C.) The Actor: Perfect tuning! If we writers, have got the validation stars on the forehead, then the script is probably ready for the big or small studios and a few people, later on, will have to show their affection. Does it resonate to the actor? Is this a role he can say, hey, I want to be that person? Does it echo in his mind? Have we come up with the super-objective of the movie, meaning, what does the writer seek uber alles? Even if we have come up with such conclusions, how is the writer’s process affected and what does it mean for his script? Having dealt at least primarily with a few acting techniques such as The Stanislavski System, trying to understand the eco-system of the industry, what would they love and what wouldn’t, probably having seen dozens of movies to get inspired, be educated on art, push it to the edge only to find out where it leads will probably prove of tremendous help, but make no mistake gentlemen. You don’t have to act to write! Writers grasp language, use language, make mistakes with language, imagine language, they are being taught language, some of them they may even surpass their ‘teachers’ with language, but it’s all about being focused on the single art instead of the many. Absorbing knowledge and language can be multi-faceted but it should never prompt us with extraordinary risks.

 

At the end of the day, big imaginations created The Jack Story. Writers though, should be bold enough to create, to risk exposure, most of all to learn, but also strive for perfection and not showcase. Those of you that would like to get a sense of my work, you can find the already attached books in this article if you simply navigate at The Independent Authors Network official link. Here it is: bit.ly/39chSSQ Have a great time folks!

Beyond "Rose Garden, A Second Chance"!

Hio folks, I am doing my best to feel creative and productive as far as writing is concerned, but there are key concerns with me I decided to share with you today. First of all, what you read in the title of this post is the title of my novella that I want to write in Greek. A novella about the ballerine Nefeli who visits the castle of Cinderella and meets Stephen, an astronomer with existential questions and questions of identity! Having read the trilogy of Philip Pullman and feeling delighted with his books, I decided that my fairytale fantasy should have pseudo-scientific elements to make it as interesting as possible. So, here’s where today’s storytelling begins. Inspired by the Screenplay Coverage company, WeScreenplay in Hollywood, there is key criticism that has to be evaluated. First of all, to all writers or mere article makers, there should never be confusion of the fantasy of literature with the fantasy of the mind, qualifications and power with what you put in 90-120 pages of white sheet. That kind of projection is hard, but also easy if being approached with diligence… Fantasy and science fantasy create complexity. Many times, examples being described possess universality but no objectivity, both for the writer and his characters.

What’s the issue? Focus and not giving up. What does it mean, analytically? Hollywood, including many writing coaches cannot understand the art of employing numerous magical descriptions due to lack of formal education, making all characters think they’ve reached somewhere… An example, they cannot understand an artist or a professional who just begins, employing a little bit of writing, a little bit of acting, a little bit of dancing, a little bit of singing, a little bit of everything. This is considered as conflict and giving up. The character should first focus doing one thing right, being effective and only afterwards move on to diversity. In fantasy fairytales with several fields of influence this is more than mandatory to uplevel your story from sheets to streets… It’s all about levelling up. What happens though to stories and science fiction where the characters’ profiles are somewhat advanced? What happens with those stories that deal with scientists, magical kingdoms, businessmen or multi-faceted artists? The rule is one, there are not canons or specific rules. But there are two key concerns that can make the writer improve his thought laboratory and try to make the difference, as being indirectly suggested to me from the writing offices.

Firstly, it’s not your idea, it’s not your concept, it’s not your character, it’s not your level. It’s all about focusing on the tangible plot and structure departments of the story! The art of juggling our entire cosmotheories and what God do we believe in is a Greek phenomenon and perhaps not just Greek… Abroad, things are simple. Can you do the job? Then do it! Unstructured this or that both in art and our resumes (feeling peaceful and normal with who you are) is what causes the plot hole. Second, an advice by the Greek fairytaler Alki Zei. You can talk about anything to anyone if you discover the appropriate form to pass your message. Passing it over to the screenwriting world, it means that Hollywood people are not complex. It’s just a long story. How far is too far? Up until you get to the other side! Even the most fascinating phenomenon in science has been employed with the advice, example is leadership. An example, Aurora Borealis and its colors’ game, inspired the storytelling of a city into heavens. As far as we can make tangible choices, we can also break the rules. For those of you that would like to get a taste of my work, you can read about my books into The Independent Authors Network, IAN if you just follow the link: bit.ly/39chSSQ It portrays my books already attached in here. Have a great time folks!

From Blueprints To Global Engagement!

Hio folks, today I will try to clear up the uncertainty that comes with creativity and creative writing and try to put a stone for future inquiries. It’s true that having created global engagement in terms of bringing my projects to life there also comes evaluation, judgements and how tos in terms of being effective and reliable. For those of you that have read my previous comments in terms of how the writer gets chemistry with his characters, how these people face the consequences of their actions and how all that are being projected on a piece of paper function, there comes writer’s mentality. When we actually portray characters and characters’ profiles in a piece of art, e.g. the actor Joel, many things go beyond writing.

It’s not mere expertise of how to write a script. It’s how the writer’s brain works with performing arts. It’s his fantasies and his experiences with the characters. It’s how you set them up in front of you, like Kavafis says in Ithaca! It’s what you hope you will accomplish with an alter ego… Why should an artist be a God? Beginner’s mind with minimal education using photos and videos… Are all artists Gods? Of course not. Do I offer absolution (άφεση αμαρτιών)? Of course not, neither should a writer do. Does art offer absolution? No. Someone has to learn to blueprint characters they’re not the princes of the fairytale.

Especially on this last comment there comes the experience of the web. Stephen King in his book “On Writing, A Memoir of the Craft” explains in written word both the yeses and the noes in writing, but you have to see written both to have solid experience. That’s the writer’s primitive marketing experience in the internet. Furthermore, books sometimes touch aspects of our cosmotheory, it’s our brain on how should a few people act. Hence, well trained analysts and judges have the ability to know very well on what is the front, the showcase and the back, the behind of a writer’s work. If there’s bad philosophy, if there’s rage and anger, if exactly like Rose in Titanic, everything from the outside is being envisioned as a super-power and inside of you there’s plenty of boiling and screaming, they have the capacity to understand that…!

If how you portray an artist means you want to give an idealistic dimension to art thinking you belong there and nothing else matters, again, this can be diagnosed as well. Consequences matter, obstacles into someone’s pathway matter as well, absolution is only for the Messiah and God… But mainly, even if somebody’s mind works perfectly and knows what it means to write outside the sphere of a book, one of the most difficult practices meaning to show and not tell, means he may not know how to put all the above notions on paper. Because you don’t write to a book about absolution instead you have to show it, meaning we have to work with messages and subtext…

For those of you that would like to have a taste of my books, blueprints that made me seek help from human resources in Greece, UK, USA, Hollywood, the worldwide web, etc, to bring them to life, you can view my already attached in this article books at IAN, The Independent Authors Network. Here’s the link: bit.ly/39chSSQ Have a great time folks!

The Before & After Of Creative Decisions!

Dear folks, it’s getting current again that literature is not math. So, let’s try to explain today what’s all about it. First of all, writers can be inspired from lots of things. As I’ve been discussing at my latest interview in The Independent Authors Network, one practical way to get solid foundations with language, in the sense of fantastic, is to receive stimuli and create chains of words within seconds that help us create thoughts, decisions and material. This can also happen at the audio-visual sphere. Nevertheless, the special torture instrument of this statement lies on exemplification. You may still not understand everything related with the creative writing process, but at the rest of it you’re in… Or better say, not exactly, projects that don’t deal with an artist’s journey presenting the commercial cinema and Hollywood shift from artistic foundations to multi-faceted expertise. An example that has dominated my thoughts both creatively and artistically is how many different things can be rotated around a simple project, movie, song, award, love affair, whether we’re talking about Gaga and A Star Is Born, launching a product in the internet, etc. Spinning messages in a multi-layered web of actions, can do lots of creative work. But let’s just get that last thing and all about creative decisions analytically.

The artistic cover of the hardcover of Alice in Wonderland, describes a dialogue of her with the cat, at what we Greeks say the ear of the book: “But I don’t want to get baffled with lunatics” said Alice. “Uh oh, but you can’t avoid that” said the cat. “We’re all lunatics here”. One of the problems of solid writing is when your intellectual child gets full of messages and no theme at all. The best way to battle it is getting past coincidences, non-linear time and unstable realities and rather more chaotic writing, that is what Robert McKee names anti-plot! Getting more familiar with structure, plot and characters lays the reality that example is leadership. Writers who got past biographical writing and perhaps Osama Bin Laden as well, have been entangled to the inexhaustible reality of myths. Can a myth be more than a type of story if compared to fantasy that contradicts reality? Of course it can! It’s all about being real with being similar. What’s the difference? Bearing in mind that art is always a reflection, a mirror of our culture, differences are underlined by a specific spacetime, with specific meanings, with specific characters, at a specific time frame, where the process of personalizing the messages of the writer is a whole different reality. It can be something totally irrelevant. The before and after of creative decisions deals first of all with getting pieces of art right and then passing through the small form towards the big form!

Enjoy my work at The Independent Author Network:
https://bit.ly/39chSSQ

 

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