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!

Writers & The Importance Of Ecumenism!

 

Hio folks, in terms of catching up with some religious details for those of you wondering about the article’s term, ecumenism is the movement towards worldwide Christian unity and ‘what is viewed’ as the universality of the Christian faith. But dictionaries and bibliography enrich this definition with wider viewpoints. Talking about the meaning of global, universal, ecumenical problems, global, ecumenical values, there comes the book of Charles Nicholl, ‘Flights of the mind’ talking about the most mysterious figure of Renaissance, the story of the unceasingly studious person hiding behind The Legend of The Ecumenical Man that is Leonardo Da Vinci. It’s true that although Renaissance has been denoted for revolutionary breakthroughs and achievements in many areas, as well as social and political turmoil, it is better known for its art streams and the contribution of great artists and scientists such as Leonardo Da Vinci, Michelangelo, that inspired the term Homo Universalis! As a matter of fact, the invention of the internet can also be considered global and worldwide and it’s also recognized, today, that some machine learning techniques have also global impact. But what do the above have to do with writers and creative writing? Let me tell you a story! 

 

It all starts by Man’s quest for singularity, this everything is one problem that makes writing effective and ineffective as well. As writers have many times proved we are children of the universe, characterization is a better term for this problem. Characterization has to do with the authenticity and the uniqueness of man and his voice. Just pay a little detail to what Aaron Sorkin in his masterclass had described as dialogue. You take what someone has told you and you punch it into somebody’s face! What it means, if an advice has been given to an actor, a real one and you still write a script about actors, it’s more probable the advice would be suitable although it has to fit. Nevertheless, the argument is not as ‘fluffy’ when it is directed to different personas. Or maybe it is? Characters and stars in writing have been our avatars in parallel universes, a little bit of chemistry between the writer and his characters is important. But this is not the end of it. How long does this effect last? Here comes my point of being not singular, often coming with no personal cost even though oftentimes struggling for being multidimensional. This is where more severe measures have to be applied. “Et tu, Brutus?” 

 

Recently after coming to super-power, Julius Caesar was assassinated as a Roman dictator. Although sources suggest that the historic Caesar adapted the words of a Greek sentence actually saying: "You too, my son, will have a taste of power", of which Caesar only needed to invoke the opening words to foreshadow Brutus’ own violent death, in response to his assassination. What could it mean? When it deals with characters, writing and screenplays, the art of learning to say no to our characters’ superfluous desires is a must. Even worse, reject them. By this and that you may have come to the conclusion that this unexpected betrayal thing of Brutus, makes the writer learn to say yes and no and sometimes shape the script before being shaped otherwise. Shaping and transforming for better or worse is a leadership attribute. So, here is where everything starts to be put into place! Leadership and ecumenism can work alongside one another and bringing back to memory the writer’s art, that can be 100 years old even though his craft might still be a little baby, fearing what to say directly is a bad counselor. Even more, when it blocks the writer by getting things done and getting wild success through his/her writing. For those of you that would like to get a taste of my work, visit IAN, The Independent Authors Network. It portrays the books already being attached in this article. Here is the link: bit.ly/39chSSQ Have a great time!

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

 

Photo courtesy of Wikipedia

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

Screenplays & The Lionized Work Of Analysis!

Hello folks, in between tumultuous days of COVID-19 consequences and my personal decision making, I have come up with a book review, getting perspective with new colleagues and plenty of scientific and creative engagement. To those of you familiar with not only creative writing but screenplays as well, there's a canon and a one-way ticket for all screenwriters, that is called script coverage. But let's just get into the analytical details of what exactly is happening right now in my mind and my creativity. First of all, I have come up with delightful comments related with my book review, as well as weaknesses that should be the deal of other partners. Meanwhile, I would definitely feel reluctant and thoughtful if I'd say that "the art of book reviews" is the single and most professional solution for me and my work. The Words of Emily Logan has been described as a love-addled screenplay, a work that is tender, relatable, fast-paced. The bones of this long-game love story are strong and engaging, if it is to speak from the reviewer's perspective.

 

But as it happens with most of the writers who consider their debut and first work needing plenty of organization before we have hints of whether it makes it to the movies, here comes a suggestion from Screencraft.org and a top-ranked Google result with the query "The best screenplay coverage company" that seems to be WeScreenplay, Hollywood's #1 Script Coverage Service.

The issue of writing a book addressing low budget movies, let's say 100K-150K, meaning companies all over USA and not just Hollywood, is the issue of the expertise of readers who know about universal criteria of who makes it. Additionally, being pedantic and considering working notes to be helpful in numerous categories related with the screenplay, such as Character, Plot, Structure, Dialogue, and Concept Analysis, issues of voice, qualitative scores, the analyst's bio, etc is what makes me seek low cost and the best popular service. That if it's about to be done more than once I won't get drowned by standards. Furthermore, continuous improvement and not dead-end judgements is the issue. The issue of my published work, that you can see attached in this article and of course, my current creativity since I decided to think exponentially and create more of it.

 

It's true that mere star brands showcasing at somebody's page considered as testimonials is a tricky nature addressing the extent and the dimensions of work being talked about. In any case, I hope you are curious to find out more about my projects if you just click at my Independent Author Network site I created with the homonymous business! Here it is: https://bit.ly/39chSSQ Have a great time folks!

Creative Writing Intellectual Motivation: From Cosmic Telegrams to Perspective!

Hello folks, it seems I am in the middle of reorganizing my moves in terms of creative strategy. I am finally in the delightful position to say my second screenplay has been finished. Official standards not only in Hollywood but all over the screenwriting world, suggest that scripts with a movie format should be between 90-120 big pages. My script is 108! The fast pace with which I wrote, gave me a rhythm and an argumentation on the script I did not achieve with Emily Logan. First of all, it's a screenplay portraying businesses and the entertainment industry. Those of you that have seen the movie of Zuckerberg by Aaron Sorkin, entitled The Social Network, can understand what rhythm is all about. Nevertheless I decided in the past to engage in book making and be self-published. This also means getting criticism and multiple evaluations on what I have done. But let's just take things analytically.

 

When Mario Puzo wrote the Godfather being introduced to Coppola, it was a bestseller. But when Coppola read the book he created a dossier with several hundreds of pages with what he liked, what he didn't like and what he didn't understand. The same happened with Myla Goldberg when she wrote Beeseason which was brought to the big screen with Richard Gere and Juliette Binoche. Someone who is not a writer and a spectator of the movie, just mentions the shift from one art to the other can't be identical. But writers and especially me who have both read the book and seen the movie, know there has been a lot of shrinkage, changes in the concept and deletion of lots of sophisticated descriptions. No matter how good you are, or an intellectual as the title of this article suggests, if you're interested in the big screen or just to evaluate your work, dogma is not a wise consultant. This means that all writers should shift from black or white telegrams on their work, to finding perspective and analytical thinking...

 

Which reminds me of the reality of my professors in Jacob Krueger Studio in NY, a screenwriting school, where since my creative writing education started in 2016 I was motivated to rationalize my material partly described by my professors as hyper intellectual. Dogma, is the issue here. Nevertheless, advices and evaluations by professionals that can be said to be authorities in books and entertainment are not free and be attracted by businesses with top level luxury brands at their websites' logo or down their page is a tricky nature. Right now I am so happy I have found again old folks from Jacob Krueger Studio in the internet, entitled as a Jacob Krueger Studio Writers Collective group in Facebook. A group which motivates me to create, share my work and my accomplishments. At the end of the day, I have already come up with a third script, in terms of my previous published work. This means I should not rush but rather play with my screenplay and find out more of what I can do with it. Have a great time all of you!

Oscars & The Stuff That Dreams Are Made Of!

Dear friends, this is a creative period for me where I will have to think completely differently in terms of my traditional presence in social media. The subject of this concern is correlated with creating more books. From the mere creative point of view, I would write the next book, out of 3 or 4 in general at a logical time frame. But if there's ambition and expectations from me related with writing and screenwriting, then things change...! Primitive copyright of something only God can make an outline (many thanks to my consultant, Laurie Lamson), makes me talk about "Krista's Instinct". Bearing in mind my artistic concerns, an artist and a computer scientist and multimedia creator found in the middle of an artistic whirlwind, that is Krista, proves it can be a character of Oscaric history. Later on, including the story with Emily Logan, I will be engaged in pitching video materials entitled '"Why me" as the writer'. Obviously talking about my personal connection to the stories, how I got the ideas and what's my expertise on the topics. That's why it is important for me to align on the true standards of such performances. Below follows a description of the Oscar Statuette found at the website of the Oscars Academy! Enjoy it!

THE MOST RECOGNIZED TROPHY IN THE WORLD, THE OSCAR STATUETTE HAS STOOD ON THE MANTELS OF THE GREATEST FILMMAKERS IN HISTORY SINCE 1929.

Shortly after the formation of the Academy of Motion Picture Arts and Sciences in 1927, the fledgling organization held a dinner in the Crystal Ballroom of the Biltmore Hotel in downtown Los Angeles to set out its goals. Among the topics discussed that night was how best to honor outstanding moviemaking achievements and thereby encourage excellence in all facets of motion picture production.

Agreeing to institute an annual award, the group turned its attention to creating a suitably majestic trophy. MGM art director Cedric Gibbons designed a statuette of a knight standing on a reel of film gripping a crusader’s sword. The Academy tapped Los Angeles sculptor George Stanley to realize the design in three dimensions – and the world-renowned statuette was born.

A KNIGHT CALLED OSCAR

Since the initial awards banquet on May 16, 1929, in the Hollywood Roosevelt Hotel’s Blossom Room, more than 3,000 statuettes have been presented. Each January, additional new golden statuettes are cast by Polich Tallix fine art foundry in New York’s Hudson Valley.

Oscar stands 13½ inches tall and weighs in at a robust 8½ pounds. The film reel features five spokes, signifying the five original branches of the Academy: actors, directors, producers, technicians and writers. Although the statuette remains true to its original design, the size of the base varied until 1945, when the current standard was adopted.

Officially named the Academy Award of Merit, the statuette is better known by its nickname, Oscar. While the origins of the moniker aren’t clear, a popular story has it that upon seeing the trophy for the first time, Academy librarian (and eventual executive director) Margaret Herrick remarked that it resembled her Uncle Oscar. The Academy didn’t adopt the nickname officially until 1939, but it was widely known enough by 1934 that Hollywood columnist Sidney Skolsky used it in a piece referring to Katharine Hepburn’s first Best Actress win.

THE STUFF THAT DREAMS ARE MADE OF

The statuettes are solid bronze and plated in 24-karat gold. Due to a metal shortage during World War II, Oscars were made of painted plaster for three years. Following the war, the Academy invited recipients to redeem the plaster figures for gold-plated metal ones.

Achievements in up to 25 regular categories will be honored on February 24, 2019, at the 91th Academy Awards presentation at the Dolby Theatre at Hollywood & Highland Center. However, the Academy won’t know how many statuettes it will hand out until the envelopes are opened on Oscar Night. Although the number of categories are known in advance, the possibility of ties and of multiple recipients sharing the prize in some categories makes it impossible to predict the exact number of statuettes to be awarded. As in previous years, any surplus awards will be housed in the Academy’s vault until next year’s event.

More than 80 years after that auspicious gathering in Hollywood, Oscar’s success as a symbol of filmmaking achievement would probably amaze those who attended the dinner, as it would its designer, Cedric Gibbons.

The elf had just opened a gate to a fantasy realm!

 

There was a looking glass just next to the fireplace, which Jennifer’s family had decorated with picture frames, sentimental cultural items and miniatures. Jennifer’s family had a delicate taste and a passion for classy decoration. As the melody of the flute diffused in the entire place, suddenly the mirror acquired some kind of liquid form.

“Hey, Jack, the glass!” Jennifer shouted with awe.

The elf had just opened a gate to a fantasy realm! The ‘Flux’ universe, as he used to call it.

“I have friends there!” Jack said. “This would be an amazing chance to meet them.”

“There? Meet them? Really?!” Jennifer replied enthusiastically.

“Hey, come on, come on!”

The elf took Jennifer’s hand, while putting the flute in his backpack. As they raised their hands carefully and walked close to the magical mirror, they passed through the looking glass and, immediately afterwards, through a whirling vortex, they found themselves sitting at an empty place around the majestic fire, playing relaxing music with the seven dwarfs and singing all together!

“I’m Butcher!”

“I’m Will Grimm!”

“I’m Half Pint!”

“I’m Napoleon!” the four dwarfs said joyfully in succession as, one by one, they started playing the flute, the harmonica, the drums and the accordion. The seven dwarfs were a little smaller than Jennifer, wearing colorful berets, having friendly and warm faces. Jennifer felt ecstatic and fascinated.

How to Write a Movie in 21 Days: The Inner Movie Method!

In this classic bestselling screenwriting guide--now revised and updated--author and film consultant Viki King helps students go from blank page to completed manuscript through a series of clever and simple questions, ingenious writing exercises, and easy, effective new skills.

Viki King's Inner Movie Method is a specific step-by-step process designed to get the story in your heart onto the page. This method doesn't just show how to craft a classic three-act story but also delves into how to clarify the idea you don't quite have yet, how to tell if your idea is really a movie, and how to stop getting ready and start. Once you know what to write, the Inner Movie Method will show you how to write it.

How to Write a Movie in 21 Days, first published in 1987, has been translated in many languages around the world and has become an industry-standard guide for filmmakers both in Hollywood and internationally.

BREAKFAST WITH SHARKS: A Screenwriter's Guide to Getting the Meeting, Nailing the Pitch, Signing the Deal, and Navigating the Murky Waters of Hollywood!

By Michael Lent

 

Publisher: Three Rivers Press (May 2004)

 

Breakfast with Sharks gives a rough, broad overview of the business of screenwriting. The author, Michael Lent, spends a good portion of the book speaking about how a career is born, discussing such topics as the pros and cons of relocating to Los Angeles, and the various positions that can be held at the bottom of the industry totem pole that still allow time for writing. Lent also describes the business of spec and assignment work, offers advice on handling rejection, and recommends the best places to network, but writes mostly about how to deal with executives, agents, managers, producers, actors, and directors without really detailing how meetings with said important individuals are ever acquired or how to perform in these meetings once they are scheduled.

 

Summary of the Book:

 

What They Didn't Teach You in Your Screenwriting Course

Screenwriters, listen up! Breakfast with Sharks is not a book about the craft of screenwriting. This is a book about the business of managing your screenwriting career, from advice on choosing an agent to tips on juggling three deal-making breakfasts a day. Prescriptive and useful, Breakfast with Sharks is a real guide to navigating the murky waters of the Hollywood system.

Unlike most of the screenwriting books available, here's one that tells you what to do after you've finished your surefire-hit screenplay. Written from the perspective of Michael Lent, an in-the-trenches working screenwriter in Hollywood, this is a real-world look into the script-to-screen business as it is practiced today.

Breakfast with Sharks is filled with useful advice on everything from the ins and outs of moving to Los Angeles to understanding terms like "spec," "option," and "assignment." Here you'll learn what to expect from agents and managers and who does what in the studio hierarchy. And most important, Breakfast with Sharks will help you nail your pitch so the studio exec can't say no.

Rounded out with a Q&A section and resource lists of script competitions, film festivals, trade associations, industry publications, and more, Breakfast with Sharks is chock-full of "take this and use it right now" information for screenwriters at any stage of their careers.

The Script-Selling Game, A Hollywood Insider's Look at Getting Your Script Sold and Produced!

By Kathie Fong Yoneda

 

The essential guide to landing your script in Hollywood.

 

This revised and updated edition includes a new chapter on animation, another on using the Internet to market yourself, plus an expansive section on submitting for television and cable.

 

"Once again, Kathie draws on her wide experience of how the movie and TV game works, sharing the secret language and inner processes of The Biz." - Christopher Vogler, story consultant and author of The Writer's Journey

 

"Kathie shares her insider's knowledge on developing your screenplay and marketing it - including the exciting new market of the Internet." - Pamela Wallace, writer/producer and Academy Award-winning co-writer of Witness

 

"Thorough, essential, invaluable, and necessary. Kathie knows how the business works, how buyers think, and what writers have to know to get the script sold. Her insightful, encouraging style makes the impossible seem possible!" - Dr. Linda Seger, author of Making a Good Script Great

 

Kathie Fong Yoneda has worked in film and television for more than 30 years. She has held executive positions at Disney, Touchstone, Disney TV Animation, Paramount Pictures Television, and Island Pictures, specializing in development and story analysis of both live-action and animation projects. Kathie has presented seminars throughout the world.

 

By Michael Wiese Productions

Selling your Story in 60 Seconds by Michael Hauge!

 The Guaranteed Way to Get your Screenplay or Novel Read!

• How to design, perfect and present the 60-second pitch
• The 10 key components of a commercial story
• The 8 steps to a powerful pitch
• Targeting your buyers
• "The best pitch I ever heard," exclusive advice from 40 major screenwriters, novelists, agents, and film and publishing executives
• And much more, including pitching templates for every genre

"...Higher praise I cannot give." - Terry Rossio, Co-writer, Pirates of the Caribbean 1, 2 & 3; Shrek; Aladdin, The Mask of Zorro; Deja Vu

"When I pick up the phone for help, Michael Hauge is the call I make." - Shane Black, Screenwriter, Lethal Weapon 1 & 2, The Last Boy Scout, The Long Kiss Goodnight; Screenwriter/Director, Kiss Kiss Bang Bang

"...I wish this excellent book had been around when we were starting out..." - Bob Fisher, Co-writer, Wedding Crashers, We're the Millers

"A wonderful book. An absolute MUST for every screenwriter who wants to sell a script." - Dr. Linda Seger, Script Consultant; Seminar Leader; Author, Making A Good Script Great, Advanced Screenwriting

"...everything you need to know about packaging and presenting your stories..." - Christopher Vogler, Author, The Writer's Journey; Mythic Structure for Writers

Michael Hauge is the author of the best-selling Writing Screenplays That Sell, now in its 30th printing. He has presented his seminars and lectures to more than 30.000 writers and filmmakers worldwide. He has coached hundreds of screenwriters and producers on their screenplays and pitches, and has consulted on projects for (among many others) Warners, Disney, Columbia, New Line, CBS, Lifetime, Julia Roberts, Val Kilmer, Jennifer Lopez, Kirsten Dunst, and Morgan Freeman.

Michael Wiese Productions