On 'When Magic Truly Happens' Short Story To Film Adaptation!

Dear friends, I feel delightful to say my fairytale fantasy 'When Magic Truly Happens' is now included into a complete and signed contract of producing a 25 minutes long animated film, based on the adaptation of the short story. Collaborating with an experienced Indian writer that will create the screenplay, this means we will discuss the potentials of the story (in terms of genre, narrator's voice, plot, writing format, characters, setting) so that short story to film portrayal will be as effective as possible. Before Hollywood-nature evaluations and transformations of considering the product for the big screen it all begins with storytelling. Sooner or later I will present to you analytical details of this collaboration of mine. Stay tuned!

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!

On The Real-World Implications Of Creativity!

Hello folks, creatives and social networkers! Deep character questions arise for all writers so today I would like to expand this topic from the writing arena to the real-world arena. It’s all about the real-world implications of creating by first of all looking at ourselves… Additionally, looking at ourselves suggests that characters should mime a few patterns based on how the writer sees the world, their physical profiles, their social background leading to educational background, working background, economic background, demographics, psychographics, relationships, goals, etc. Easier said than done… From the one side of things, a creator should focus on the parallel development of analysis, multiple index cards and notes after the end of the first or second draft of his script being brought for consultancy.

Nevertheless, I promised to discuss the real-world implications of the above that brings us to the terrain of a guided principle mined from the book of Stephen Covey, The 7 Habits of Highly Effective People. For this reason, I will shift the excerpt of the book from the company perspective to the individuals’ perspective. Here it goes;

“What makes an individual tick, why do some become built to last (while others fall), and why do some thrive in chaos?” One of our key findings is the idea of “Preserve the Core / Stimulate Progress”; no one can become or remain truly great without a core set of principles to preserve, to build upon, to serve as an anchor, to provide guidance in the face of an ever-changing world. … Covey found a similar pattern in personal effectiveness; first build upon a strong core of principles that are not open for continuous change; at the same time, be relentless in the quest for improvement and continuous self-renewal. …

Battling the super-productive model, Covey later in his book writes;

“But is there a chance that efficiency is not the answer? Is getting more things done in less time going to make a difference – or will it just increase the pace at which I react to people and circumstances that seem to control my life?”

The daily clock, the counter, I suggest it should hit zero. Notions of developmental psychology including the rationale of this book, are very heavy to be grasped by mere reading… Individuals wonder, should I step out of it? And later come back to face the facts stronger and rejuvenated? Here, the answer for those that do not seek temporary results is no. Writers should first of all be able to distinguish the ego from the shadow, the way these things are described in the area of several mentioned archetypes that form the techniques of our model of thought. Cumulatively, there are archetypes for the ego and archetypes for the shadow presented as interdependent opposites being described below;

Ego; great mother, old wise man, animus, meaning, centrality, order, opposition, time, sacred, light, transformation

Shadow; Tyrannical father, trickster, anima, absurdity, diffusion, chaos, conjunction, eternity, profane, darkness, fixity

Every archetype of the ego is interdependent with an archetype of the shadow that could be described with two columns, the ego and the shadow. Writers now want to search and figure out the essence of bringing our work to the light of day successfully by defeating the ever-changing shadow. This could possibly mean, based on the two columns that time is not infinite and those who believe that the entire infinity and the entire eternity should be quested at this point of our lives are not welcome.

In the book I write, a fairytale fantasy novella, words couldn’t be clearer: “…where nothing is what it seems and nothing lasts forever…” But how can such a concept be visualized? By thinking collectively! That’s right folks, the ego and the shadow exist as a collectivity of things and dimensions brought to surface through a spectrum of different prime emotional needs for all individuals. These ideas including the set core which cannot be subject to continuous change constitute the notions as well, of how the fixed and the fluid, the variable parts of literature will become one fixed body of reached greatness! Meaning, that up until standards and accomplishments have been maximized, performance scores of pieces of art indicate the binary value of scripts, meaning that scores are based on what other screenplays got. Meaning, again, that judgement comes always by comparison and that we have to mime patterns and a few all-star masterpieces to reach standards. For me and my book that has been brought for evaluation at WeScreenplay, Hollywood’s #1 Script Coverage Service, this standard is La La Land with Ryan Gosling and Emma Stone. Of course, that’s the creative standard and not the dimension of distinctions 😉

Can the above mean more when it comes to how mindsets should focus their writing on getting real world reflections? Meaning, are there more than talking about the dimensionality of characters and scripts in real life? Time concerns, is one such. Creativity should not flow mechanically and it should take time. Conclusively I would like to close this script with how we, writers, should stick to our creative personas, master our alter egos and get past the hunting of other dreams. Which means self-awareness, self-confidence and disillusioned thinking! Have a great time folks!

Below you can find my work published in the world wide web:

My Amazon Author Page: https://www.amazon.com/author/makersdust
The Words of Emily Logan in Apple Books: https://apple.co/2mr75hO
When Magic Truly Happens in Apple Books: https://apple.co/3KbVbyK

Multimedia Publishing OR Cinematic Storytelling

Dear friends I’ve been entangled to a dialogistic synergy with WeScreenplay, Hollywood’s #1 Script Coverage services and I can definitely say outputs and conclusions fascinate me. Before I delve deeply into it, I would like to explain the rationale of this dialogue influenced from other experience. We get notes. We get notes on concept, plot, characters, structure, dialogue, overall impression. So suddenly we realize interpretations are ambiguous, multifaceted and those of us who definitely like to express ourselves in many ways can definitely go wrong. But in order to flex your intellectual muscles it’s all about interaction. Sometimes this risks reliability. For example, a Greek journalist has invited an astrobiologist at his broadcast to talk about life in the universe and extra-terrestrials... No matter how much scientists we are, we or somebody else, can we correlate and identify? No. What on earth does “this” journalist know in terms of asking the right questions, in terms of asking the critical meanings and hidden wisdom so to produce an interesting scientific outcome on the discussion of whether we are alone or not in the universe? Nothing. To communicate and discuss on somebody’s expertise requires going deep as well as putting pressure on the right points. These were the comments of WeScreenplay as well. Being indicated that I ask outstanding questions, meaning questions that penetrate to the essence of writing and crisis recovery, I have also come up with conclusions of how to think of my self-publishing ventures. But let’s just view at the facts analytically. Many times, but not the case for the entire of scripts, literaturistic characters prove not more than 35% sufficiency than cinematic characters...! Many of us think as litterateurs, not entertainers or actors...

Literature is the arena of sophisticated descriptions and we have seen already that if canons of literature unify with the canons of screenwriting, then movie scripts can be considered audio-visual literature as well. Many times, mere literature but not cinematic storytelling, rotates around completely different natures of narrative elements and dimensions. There may be thought, fantasy travelling, narrator’s voice, etc. This means that what is left from the script to be devoted on how to super-develop a cast is not enough. Accurately, it is much less than enough. Screenplay characters, it’s theory for every script, have 5 prime emotional needs: love, comfort, validation, respect, justice. Love should not be confused with comfort nor validation with respect. Based on this as well as the fact that the popular structure of screenplays is The 3 Acts Structure, meaning to divide the script in 3 Acts, where every act is being developed appropriately, means that argumentation on literature is very different than argumentation on screenplays. Behind the reality of greenlights, movie theaters and a big audience hides a cultural gap that is based on favoring object-oriented writing if compared with intellectualism. So, these objectives focus entirely on character development that affect the entire architecture of the script. A lot of people who read books including us, the writers who write these books, can only think in terms of literature but not in terms of analyzing casting through the eyes of a Hollywood reader and later on, actors and directors. As it is not necessarily right to juggle between three different jobs of the entertainment industry, it’s only the writer’s mind that can do the job right...

This means “structured” argumentation and real-world experiences. Nevertheless, bridging gaps matters more than ever. In any case, multimedia publishing perspectives in terms of content guidelines from big data markets such as Amazon and Apple iTunes, Ingram, etc, is as perfect as our first thoughts towards it, as perfect as we initially dreamed of it all along! For it is true in the majority of the cases that cinematic storytelling has 70% more characters’ development sufficiency than literature! Have a great time folks!

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 "Art" Vs Writing "Craft"!

Now folks that we’ve had a few experiences of the rotten elements of the environments surrounding us including authority schemes, etc, lets focus on the more creative concerns of what it means to reach, to go beyond and to surpass limits… I’ve mentioned in my creative writing forum that when it comes to art concepts and mere art independent of the diligent processing of words and meanings, there, we could be intellectuals, we could be Gods, inventors, visionaries, etc. Our art can be 100 years old even though our craft may still be a little baby! Since literature is already more complex than screenwriting, lets focus on screenplays to understand that better.

Screenwriting is exclusively audio-visual, allowing us to write only about scenic directions and dialogue. I have realized though that plain projection and linear positioning of scenic directions and dialogue make the script empty. Coverage of the page is not the same as literature and if we add to this fact that dialogues leave a lot of blank space, you realize you lose content, extra dimensions of characters and descriptions and important artistic elements that if not figured out by you, your consultants will…! So, let’s get deep with indirect speech in cinema and more complex scenic action! In the majority of cases this is how you welcome your analyst to discuss what you and the script need and what not.

Indirect speech and complex scenic action constitute the parallel universe where we get away from a flat script and we get dimensions. On the contrary, what could 3 lines of scenic action do to the characters if nothing at all? When we know for example that we get independent advice for concept, plot, structure, characters, can the previous be completed on the mere dialogue level? So, this means that a discussion becomes the elixir of the 100% that happens to characters? Of course not! It is not dependent from a mere discussion to how far characters go including humans in real life. Some people believe they possess the best experience in terms of power and creative power… Stalkerazzi is one way to achieve that…

Creative realities show that ingenuity in flexible systems, resilience and analyzing various means of expressing ourselves make the machine work. It’s not what you say it’s how you say it. It’s also show don’t tell. Conclusively, craft in the first years of a writer’s life is dependent not only on the creative effort but advice and guidance as well. Have a great time folks!

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!

Voice Introduces A New Experience: The Creative Mindset!

Hello folks, all people of creative writing, business and technological worlds may consider my today’s theme of discussion of exceptional importance or somewhat advanced. Nevertheless, no matter how much beginner or advanced someone is, or something, whom you speak to and (as always) what or whom do you think you’ll find (that is both irony and approbation) there can be explanation of the title of this post, depending on how it is presented. Voice will be a catapult…

In order to speak, we need a voice. Characters both in novels and screenplays are being judged by their authenticity and uniqueness, implying the matching of words with actions which is pictured through their voice. This applies to business world as well. When dealing with marketing or technology we wonder: marketing according to whom? According to how it is presented at college? According to what the applied business world urges based on the production system? According to what the world or the public opinion poses in order to influence more? And when dealing with the triad creative – marketing – technology, how does one dimension affect the other, if combined? Isn’t it true that the writer or the individual markets his ideas, experiences and world view and his behavior (better or worse) in specific spacetimes?

So, let’s analyze the above! An individual, that is a character, a writer or a professional will be parameterized on lots of denominations: age, gender, education, profession, interests, experiences, politics or religion, vision, stage of evolution, relational potential, entertainment tastes and if further applied, principles and value systems. One very important aspect we, you, have to know before being trapped is that systems drive behavior meaning that whatever you sow, you reap… The speech of a Greek artist in TEDx was entitled that you have to “Create skies if you want to see stars”. So, metaphorically, as usually, (that is both an irony and approbation) the skies are many… But if we can all agree to archetypal considerations, this means commonalities for all people, we can learn better and perform better when it comes to the dimensions described.

The picture above portrays sound waves, hence the product of synthesis has to be clearly defined and understood if it is to be applied, schematically, to the creative writing, marketing and technology arenas… As a first observation, I consider it has great perturbational value. As a writer, our characters have to be unique, authentic and with a crystal-clear shape of story arc. This is what characterization means, for books and screenplays. All matter is pulled by the gravity of the world that it comes from, and not any other. This implies a clear identification of filtering a product of many voices, nevertheless it leaves at the mercy of God novice individuals, ‘little boys’ and ‘little girls’ who may not yet possess ‘the mechanisms’ to defend against the brutal reality of the 21st century.

Little by little though I have outlined character structure and as you know, the available themes in literature and cinema can be many. Exactly the same analysis is applied to marketing and technology. First things first. In order to do marketing, you need a product. Price, promotion and marketplaces, are shaped around the tangible reality of a specific product or a specific service. But at the center of the markets of Western capitalism lay consumers, individuals, humans… So, applying what has been mentioned above, shouldn’t there be demographics, profiles and psychographics for market analysis exactly as a writer defines character structures? They exist since the dawn of marketing.

So far, I described quite analytically the independent dimensions creative, marketing, technology, but I have not yet discussed how the one affects the other. Affection though is complicated and indirect. First things first. A few observations of mine in the internet. Having witnessed the web since 2007, there are occasions of people swelling, inflating the world of others and presenting it as accomplishments, or applying previously reported failures, bloody massacres only to prove better. In a world where what matters most is not what we’re alike at, but at what we differ (including extra-terrestrial intelligence), originality is important. These strategies won’t fail from day one. But in leadership there is comparative evaluation. They fail as being part of somebody else’s strategy and not your own strategy. The swelling of ‘your neighbor’ but not your own.

Hence there is a raw material for everyone, proving that the rights and the mistakes are very specific and common for everyone. Geographical restrictions or liberation, individuals following international standards and not acting like localists, thinking globally and acting locally, may prove differences in subject matter. May create a Greek artist following his Hollywood passion. May borrow themes from abroad. May engage in literature without borders. May quest bibliographical and technological research to create a network. And they make people understand better the digital reality of the 21st century. A world where pioneering science and AI, marketing, technology and creativity dance all together at the perturbational universe described at the photo above. Have a great time folks!

One Size Doesn't Fit All: The Creative Mindset!

The Disruptors - Google, Apple, Facebook, Amazon

Dear folks, there's been a long journey of over a decade to come up with a version of materials, creative projects and social networks so I believe now it's time to think I am at a crossroads of where to go with my creativity. Before that happens I would like to talk today about the entire pack of book publishing, digital marketing and meteoric technology know hows. If we were freshmen in the university or if we had to give advice to our younger versions of self and this little guy got to know of memoirs dealing with Amazon, social networks, Apple approved aggregators with books, plenty of academic testimonials and creativity driven from the top, this guy would feel the king of the world... Reality is much more different but much more promising as well as it's true that at that ages we may lack analytical thinking on the issues above, moreover, quantifying our decision making. 

 

Getting started with my own paradigm, book launch in Amazon is enough for the company to copy the file and distribute it all around the world where the company has sites and offices and that's the first exposure of the writer towards global understanding. Nevertheless there are dozens of people and networks involved to bring a project to life. The writer, the writing consultants: story consultant and proofreader, the intellectual property offices, the graphic designers to master the digital files' approval, UK and USA digital distribution companies, networks to get a beautiful book cover that will be fine with your psychology, ISBNs from The National Library of Greece, "find" all the above networks in terms of affordable costs or being free, markets' approvals at the end, do you believe I am complete with the above? Not even the double of it! Planning a book launch, comes with planning your web presence including an entire pack of digital marketing activities. 

 

Thinking of a writer's web page, thinking of a Facebook page, thinking of Facebook banners, thinking of engines that shorten URLs, thinking of photos and campaign materials, thinking of podcasts, if you think of podcasts then you come up with free text to speech software, then comes sound recording, so, what's next? Afterwards you could possibly seek author interviews and getting familiar with digital PR that some of them come up with larger networks promoting your work. Advice with Twitter followers and, if you're lucky enough getting book reviews. Nevertheless, book reviews are not the singular reason that the entire success of your book pass through as it's important to consider what sort of validation you ask. A novel? A screenplay? An essay? Poetry? So, who's responsible for the previous? Quite often, book reviews from the crowd are being considered far from industry validation such as a publishing house approval, movie approval or foreign rights...! It just helps with sales...

 

Now, in terms of the validation mentioned, are the issues presented above the single dimension of where your creative success and fulfillment depend on? If someone writes a screenplay, you have to consider script coverage (meaning, professional evaluation) from accredited artistic organizations and get to know things beforehand and afterwards related with the movie industry. Reading books, getting to know the ecosystem of cinema, experimenting at your blog. If you're writing philosophy or if your book is thematic and it's not literature then this is a field of subject matter experts. What the heck are you writing in the end?  OK you wrote it and it's ready to get published. If you have deep pockets you may consider book events but I believe this goes hand in hand with what kind of validation you seek, as stated above. Are you truly familiar with how the above activities work, or do you believe you will get stuck at somewhere, proving that in the 21st century educational backup is more than necessary? And how far are you willing to go in terms of writing your memoir by acknowledging that what's most important is an alignment with "management", "experience" and "company profiles"?

 

Now let's get deeper to tougher considerations. When it comes to the campaigns described, perhaps setting up Google My Business, the hunt to come up with an article 24 hours per day and much much more personal work as it is described above, that perhaps you knew nothing, not even a hint of it 2 years ago and you have to discover everything through specialized Google queries, how much time and effort are you willing to invest? Are you willing to align your creative life with the rest of your life? And if so, are there problems being confronted? Have you truly acknowledged that the 4 industry disruptors of the 21st century that is Google, Amazon, Apple, Facebook make it clear cut that not even the half of us know where something truly begins and where it truly ends? What about technology upheavals and AI? Familiar with the science of how big data and what actually sells in the internet work? Interested to go the extra mile and get solid foundations with science if the starving artist syndrome is not your type and you're truly interested in career building? A case for all of us or some?

 

OK then, you say, I'm starting to get the big picture so this means I have a solid understanding of what my options are, what market research says and how I will proceed with my opportunities and decision making. But having to consider a balance between work life and personal life, where books may be something completely extra, considering that success is also making money, your first concern deals with career management. Are all of us doing the same, or familiar technological jobs? So if not, is the above a work worth doing? How fast and for how long? Remember, these mean nothing yet! John's Revelation fastly approaches! Never ever engage in activities or the internet without a strategy. If you think that with your first or your second book you're gonna make a living, forget it. Willing to adapt a book into a screenplay? Have you found this one, unique, diamond company that makes it with the lowest cost possible? 

 

Are you willing to invest in quantity and not just quality to make it happen? But when? How fast are you willing to work? Since you're not getting paid, are you aware that slowness is not an advantage? Familiar with what global presence truly means and how to deal with foreign companies in general? Aware that this may mean hundreds of emails with the companies, your consultants and your options to get to know how things work, or even worse, get to know things you're not aware of including reading dozens of articles in the internet related with the industry? Do you consider yourself a perfect user of PCs and the internet? How good are you with the ecosystem of websites if creative concerns or problems arise? Where does art start or end and where does the business side of things continue? And so far, you may be familiar with nothing in terms of opening accounting books in the future to support your work legally and safely. Isn't this an ambitious, bold and extremely risky step that you shall not consider away from an employee - boss relationship? How does your character correlate with that? When making money with your art then you come up to the conclusion that money, dates and time matter more than usual. And what if you can't focus to complete many projects in the long term or if focus and writing a lot seems difficult?

 

So far you must be perfectly aware of that success and effectiveness as a writer started for you as mere inspirations and joy of writing paragraphs and discussing your art in the internet, but it continued with confronting completely different, complex and fuzzy issues that do not care about what a business card of yours writes. You come up with other concerns and other professions. There are a lot of people in history who decided they are creators and not economists. They are artists and not technocrats, publishers or business people. Some of them failed, were deceived and some of them still have nothing to do with the dynamic profile of this article. For them it's simply that the internet or digital marketing is not an issue, not dare to mention about science and AI, they're just others. OK, now we're getting closer to the truth and solid arguments but when it comes to the internet there is a quote: Think Global, Act Local. Don't you think the term "international" is quite heavy? And what exactly does it mean to go beyond borders? Willing to discover that to succeed it means you will find yourself investing in a decade of creativity as no writer solves his problems with his first book? Proficient in the English language and moreover, with professional standards?

 

Personally speaking, I have found myself in the middle of dozens of theorizations, analyses, book readings and book evaluations, but more importantly I have found myself analyzing, deciding and generating arguments in a sense that ordinary people CAN'T. Conclusively, now we realize that to innovate, create and pioneer in book publishing and the internet in the 21st century involves dozens of non-linear activities if compared with mere art. So that's the exact reality of what it means to survive in the world of the 4 disruptors, these are Google, Apple, Amazon and Facebook. In a world where money doesn't bring happiness but it surely helps to get things done in the long term. 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!

The Importance Of A Filmmaking Studio Mindset

Hello folks, today I will explain through my own paradigm how everyone’s thought laboratory (for each concerned case) can affect us deeply in the way we act or write. One of the very precious comments of one of my professors back then in Jacob Krueger Studio was how to be present in the moment. As a first view you may say this is the case to improve in terms of lack of focus. After all, discussions and likes both in the internet and outside is a way of declaring present… I am not interested in such presents… So let me use my creativity and writing to explain all about my next steps and how to make the most out of them, present. Creative rights from a production company include the publishing a book option, a book of the final draft, not now. First of all, can the audience of a new writer be compared with the audience and leverages of a good entertainment studio? Secondly, web leverages from a studio can tremendously help books’ profitability. I am always talking about the missing keys right now to fit Amazon’s algorithm of sales…! To the point, there can’t be more proofs right now of scaling up if there’s not a screenplay sale to an entertainment studio. But let’s just view things analytically. Based on the above I would like to explain what they mean if compared with what I said in the beginning, my thought laboratory.

Having studied and talked numerous times on digital marketing, creativity and AI, a magical world of power emerges in front of us, with plenty of perspective, plenty of future potential and plenty of promises for a curriculum vitae. So, today’s point is how exactly all the above are stuck back, frozen and sub-functioning because the creator may have a peculiar relationship with loyalty, promises and the need to make a few heads happy. I am talking about proving creative success by accepting a hypothesis exogenously defined…! This is the case for science as well, there can’t be a theory founded if we don’t accept such a hypothesis, Einstein used the speed of light for this… All of the above concepts related with web marketing and digital perspectives can be ‘simply measured’ and in order to work for newly-born writers – this doesn’t include writers who may have thousands of followers or members somewhere and can leverage social decisions – there have to be extra steps taken. For me, since I have focused not just in self-publishing but in the art of a screenplay is to focus on getting my work ready for the cinema. Fees, leverages and the production company’s audience including colleagues can play a big part in getting things done, in other words, to talk about success and results. After all, aren’t all the above issues of accurate self-evaluation, self-consciousness and self-awareness if it is to remember Goleman’s model of Emotional Intelligence in the workplace?

For everyone of us, being responsible and the sole delegate who determines our own performance is a must in the complex 21st century. If we don’t decide to step away from the conflict, to avoid it in other words, but instead of it, face it, we can all come out a lot stronger. For me, working with the best office in Hollywood can play an integral role in finding creative success. 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!