It’s Not You Who Choose the Book, it’s the Book that chooses you

by
Photo montage by Daniel Gardiner

Dot 1: Books are Magical Things

It’s not you who choose a book, it’s the book that chooses you.

Have you ever come across a book that matches exactly how you felt? Or answered a question that you had in mind? Or simply felt a sudden urge to read a book?

When I was a kid, I was a lone child with no friends. My parents thought that boredom would be good for me, that it would stimulate my imagination. My options being limited, I decided to live there. In my imagination.

At school, my parents were often called by the headteacher: ‘Your daughter seems to be living with the fairies’. That fact seemed to upset everyone around me. I didn’t see where the problem was. The fairies were far nicer than my peers who often welcomed me by a ‘hey midget, did you have a fight with a mosquito last night?’ (referring to my spotty face).

At home, there was no books. My parents were too busy working, no time for reading so therefore no books.

Once, I hid in the attic of my grandma’s countryside house, among the spiders. There, I discovered a treasure: Agatha Christie and Ian Fleming (my uncle’s books).  These books were old, smelled of naphthalene and humidity and I loved it. That’s how I became a bookworm.

Dot 2: When the Student is Ready, the Teacher Appears

At 11, I had a new french Teacher, Madame B.  (I send her many blessings wherever she is). She asked the headmaster to make a library out of the built-in wardrobe in her class-which was granted.

One day, she called me and asked me to choose one book out of her ‘Narnia’ wardrobe.  

I didn’t know what to choose, it was all a bit overwhelming.  She gave me ‘The Diary of Anne Frank’. I read it within hours. Every week, I came for more: Italo Calvino, Samuel Beckett, Albert Camus….

The following year, Madame B. gave feeding instructions to my next French teacher, Madame D.: ‘This girl eats books’.

Madame D. (bless you wherever you are too) took her feeding instructions very seriously and gave me ‘Le Rouge et le Noir’ (‘The Red and The Black’) by Stendhal.  It was a shock. From the first page, I couldn’t  leave the book alone.  When I finished it, I told her: ‘I’ll never be able to read another book again. This was the best one ever’.

Madame D., who was a beautiful human being, laughed out loud. ‘Don’t be silly, of course you will!’. She gave me other books to read: Flaubert,  Boris Vian, Pascal, Balzac… I did enjoy them all but not as much as ‘The Red and the Black’.  It wasn’t as… intense.

With her, however, I discovered a taste for philosophy. One day, she gave me to read Candide by Voltaire (the French equivalent of Shakespeare). Saying that I loved this book would be an understatement.

At 17, I do my Baccalauréat. My French exam is an oral where an examiner has to choose a text out of 15 books. I enter the room very nervous and wait for her to tell me the name of the book. She scrolls down her list and stops her long fingernail on a name: Candide, Voltaire.

I couldn’t believe my luck.

For 20 minutes, I couldn’t shut up. When my time was up, she said she had never met someone who knew so much about this book. She gave me the highest mark she has ever given.

I walked out of her office, feeling as tall as the Eiffel tower.

That day, I had a revelation. It wasn’t a coincidence.

All the reading moments in my life led me to that one. That book chose me, Voltaire, chose me.

Something is guiding us. The French philosopher Pascal was right.

That day, I had the confirmation about something I had suspected all my life: there is something more to life that what we are all brainwashed to believe. It’s not all about the economy.

Dot 3. People Give You Books For a Reason

2012. I’m married with two babies. They are my life, my reason to live. Yet, my bubbly self is gone. Whatever I do, I seem to go on downward spiral. A friend, who knows me well, is desperate to see me happy again. She puts a book in my hand: The Secret by Rhonda Byrne.

I  read it and I didn’t feel anything.

It was a bit too much for me, this ‘positive thinking/outcome’ thing. My life was dark, I couldn’t see any way out.  I gave it back to her. She tried to convince me to look deeper into it but I wasn’t having it.

Years later, I worked in a little shop in the UK. Once a customer gave me a gift: The Secret. This book again! I thanked her and told her I had already read it. But she insisted that I should read it again. I accepted it but soon after, I passed it to another friend.

2016.  Another friend gives me the same book. It couldn’t be just a coincidence. Why did it keep showing up in my life? I sat down and looked at it: ‘All right then. Show me what you’ve got’.

While I was ready to give a shot to the message of this book, something happened.  Three upsetting things came up all in the same week : The council wanted to close my husband’s business, a huge debt showed up from a gas bill, and a problem with my son at school. 

I started to panic but quickly I understood what was going on. I had decided to change my ways and I was being tested.

I had the choice. I could either react like I always did or I could try something new (and totally unfamiliar) and follow the guidance of a little book. I opted for the latter.

I won’t give you the details because it would bore you to death but within two weeks my three problems were gone and dusted.

The school admitted they had made a mistake, the debt was illegal so it got erased and my husband’s business kept going.

Needless to say, I didn’t sort everything out by myself, a lot of people helped us to make it right again but I looked for these people, I expected solutions to appear. And they appeared. All thanks to a book.

Dot 4. Life is about connecting the Dots

The book itself is irrelevant.

The last book I read was ‘Happy Money’ by Ken Honda. Before reading this book, I never thought you could put these two words together: Happy and Money.

Turned out, apparently, you can.

This book changed my perspective on money and moreover, on spending.

‘Happy Money’ was suggested to me by a friend, I followed her piece of advice and I’m glad I did.

In other words, each book carries a personal message for us. They change our perception of life and enlarge our vision. Books are Dots.

However when the book presents itself to us, we have no idea it’s a dot. It’s only looking back that you realized it was one.

As Steve jobs said: You can’t connect the dots looking forward; you can only connect them looking backward. So you have to trust that the dots will somehow connect in your future. You have to trust in something — your gut, destiny, life, karma, whatever.

2018. While on a train to London, I was reading a book from my mentor Lucy V. Hay. The woman in front of me was intrigued by it so we talked about it. I didn’t know it then, but this person was going to be one of my closest friend and also a strong business ally. A book, a dot, connected our paths and has changed my life.

In conclusion, I would invite you to observe the dots sent to you. Take it as a game if you wish. Try it for a week or two, just observe the dots, the messages, the people who are sent to you. And each time ask yourself: what is there for me to learn?

Let me know.

I would like to finish with a quote from Catherine Ann Jones: ‘What we read influences us as thought is a powerful thing — both positively and negatively. What food are you putting inside your mind?‘

Thank you for reading x

This post is dedicated to my dear friends and book whisperers Saskia and Sally Bibb.

Writers and Depression

by

Photo Montage Daniel Gardiner

Born Depressed

Virginia Woolf, Anne Rice, Paul Verlaine, Stephen King… for many writers, depression is not an unknown guest and often takes its roots in early childhood.

The reasons might differ – emotional or physical abuse, abandonment, neglect… the list can be long.  The child, future writer, often grows up with a dark cloud around his/her head and a story to tell.

Misunderstood

However, this child will often do his/her best to keep everything inside which will make connection with other people almost impossible. The writer is often a misunderstood creature.

The child writer will then decide: ‘I don’t do people. I’ll do books instead, they’re friendlier’.  

After finding some answers in books, the child writer will write a story or two or will do some journaling. 

One day the child/teenager will make another decision: I want to be a writer. The young writer is dead serious about it, yet people  laugh at this statement. Why? Because ‘being a writer is not a job’. 

And they are right. 

Writing is not a job.

It’s a divine calling.

Errors and Trials

As a beginner, the writer will do everything BUT write his or her painful story. Writers will start writing about something that doesn’t touch their heart. Something that won’t put the  light on the big elephant in the room. 

As they wrote a meaningless story, people will read it and say ‘so what?’  And that hurts their feelings.  

What the novice writer doesn’t know, is that he/she is learning the craft.

Mediocre writing is VITAL if the writer wants to get better.  

They need to write again and again. Soon enough, the writer will realize that if she/he wants to get noticed, he/she needs to let the demons out and write about something that triggers a strong emotion.

The Writer is Born

Writers at work will bleed at every sentence, will put their guts on paper, will walk through dark tunnels and will live with uncomfortable thoughts. 

Once the piece is written, and if proactive, the writer will send his/her work at every publisher, agent, manager, producer, editor… If they’re lucky, they get a rejection letter. 

Otherwise, they’ll be ignored which is the worst kind of rejection.  

Rejection is unpleasant; it affects the writer’s self-esteem. If combined with another emotional knock-back such as a breakup, a divorce, problems at work, loss or unemployment, the dark cloud becomes bigger and thicker than ever before.

See post: Dealing with Rejection

The Fall

If not looked after, the writer could fall in the trap of addictions. 

Indeed, the depressed writer will find ways to shut down the voices inside telling him or her that ‘they don’t have it; they are unworthy and should stop writing’. As a writer is often a lone wolf, he/she can sink into deep depression without anyone noticing. In self-doubt, the writer is tempted to give everything up.

The Awakening

Then one day, the writer will learn to treat depression as an ally and not as an enemy. He/she will see it as a sign, an inner voice that needs to be heard, a problem that needs to be addressed or even better, a story that needs to be told. 

As the writer has learned to tell a story, he/she will spend time a lifetime learning about human nature. Soon enough, he/she will understand a strange fact: everybody is in pain, everybody struggles. 

That’s the true beauty behind the writer: feeling empathy and compassion for others. She/he can feel his own pain but also others’.  

His/her main skill is the capacity to put himself inside everyone’s shoes: old, young, wild, poor, rich, shy, gay, straight, man, woman, black, white, a single mother, a doctor, a womanizer… It can be pretty messy inside his/her head. Borderline schizophrenic even.

But this pain will fuel the writer’s creativity. He/she will use it to connect with people, to be relieved from past traumas, to transmute unmet needs, to give inspiration.

See post: Journaling for Healing

The Return

After each defeat, the writer learns to bounce back like a ball. He/she will get used to rejection. Of course, he or she will be affected, but not as much as before.

The writer is both sensitive and tough. He/she is both depressed and strong. He/she is a dreamer and a business person. 

The writer spends hours writing stories to entertain the world, to help people to think, to react, to act, to dream, to hope…  

A writer is an alchemist who is able to transmute feelings and experiences into words of wisdom.

And yes, the writer will not touch everybody’s souls. He will touch one person or more and that will make his/her day.

So dear writer, please don’t give up: Someone out there needs your stories. Keep writing.

The Mentors

by

Picture by Mohamed Hassan @Pixabay

You might come across them in stories or in real life.

They wear all sorts of disguises.

So who are the mentors? What is their purpose and why do we need them?

Let’s dive in…

1. The Master of Craft or the Expert

In The Writer’s Journey, Christopher Vogler gives his definition of a mentor in fiction:   ‘a mentor is often former heroes who have survived life’s early trials and are now passing on the gift of their knowledge and wisdom.‘

Whatever your field (IT, cooking, hairdressing…), you need to know who the experts are.

As Inside the Writer’s Bubble is dedicated to screenwriters and writers, my masters of craft are Yves Lavandier and Linda Aronson, simply because they both know the craft inside out. They have spent their life studying, working, exploring narrative and screenwriting in an almost scientific way. To me, they have WISDOM, KNOWLEDGE and a modern VISION of the craft.  Moreover, I find them incredibly humble and approachable considering the level of knowledge they both have.

Who are your masters of craft? What do you admire from them? What can you learn from them?

Why do you need them?

The masters of craft will not only teach you the universal laws, they’ll also help you to breakthrough any barriers you may have.

In fiction, some examples of masters of craft: Dumbledore in Harry Potter, Gandalf in Lord of the Rings, or Yoda in Star Wars.

2. The Mentor-Model

The mentor-models are the ones who made it at the level you’d like to reach (or your hero would like to reach).

For me, being a Sarah Treem or a Damon Lindelof would just make my day. My life even.

Of course, there are hundreds of screenwriters out there I admire but the ones who make me incredibly jealous of their writing (in a very reverential way) are Sarah Treem and Damon Lindelof.  Each time I read one of their scripts, I die with envy, wishing I could write exactly like that. 

Why do we need them?

While perfection is totally unreachable, EXCELLENCE should be the goal. I encourage you to study your models, you will learn a lot about your craft.

Example in fiction: Tony Stark (Ironman) with Peter Parker (Spiderman).

3. The Inspirational Mentor - The Connector

The inspirational mentors are the ones you don’t expect. They come out of nowhere. They show up on your path and nothing will be the same again.

In our interview, Geoffrey D. Calhoun explains that: ‘a mentor is someone who has traveled the path before and can take you to the next level’.

It happened to me in 2016. I left my house in Dorset at 4am in the morning, started driving, thinking to myself, gosh, it’s dark! Soon after I realised I was wearing my sunglasses instead of my driving glasses!!! What I didn’t know then, was this event was going to be my metaphor for the weekend. 

I arrived in London. I didn’t know it yet, but I was about to meet the woman who was going to change my career. Graceful, mysterious, and fascinating, in one weekend, the screenwriting goddess removed the sunglasses I was wearing all my life. Suddenly, I could see clearly.

This is what inspirational mentors do; they bring CLARITY. She blew my mind with her knowledge, her strength, her character and her public speaking skills. She was the inspiring mentor I desperately needed and I didn’t even know it. (I couldn’t believe it when I found out we were sharing the same master of craft: Yves Lavandier!).

Why do we need them?

They will bring clarity on your next step. They will help you to get to the next level. They will warn you of the pitfalls. They will introduce you to a community that will bring you more friendships, collaborations, support and inspiration.

Example in fiction: The Godmother in Cinderella.

Picture by Geralt @Pixabay

4.The Peer-Mentor - The Ally

The peer mentors can be your work colleagues, family members or friends. They guide you on a professional level but also on a spiritual path too. There is no ego involved. They want you to succeed.

Why do we need them?

They keep you safe. They watch over you. They catch you when you fall or defend you when you are being unfairly attacked. Lucy V. Hay calls them ‘the allies’.

Cherish these people. Always.

Mentors like this in fiction: Hermione Granger in Harry Potter or Sam in Lord of the Rings.

5. The Mentor Coach

One of my mentors always says it: When the student is ready, the teacher appears…

After meeting my inspirational mentor, I realized I still had a lot to learn about my craft. Humility hit me. I was ready to be a student again and other teachers appeared.

I cannot hide the fact that one of my biggest influences these past years is my co-writer. He calls mentors ‘truth tellers’ because they often are authentic. They can see through you, they know what you are capable of and will push your limits. My co-writer is mine.

He taught me to ‘take imperfect actions‘,  ‘to scare myself every day’ or ‘to ignore the haters because they make you lose your focus‘, his support is priceless.

Why do we need them?

These mentors will give you INSPIRATION, ACCOUNTABILITY and ENCOURAGEMENT to keep you going. They won’t tell you what to do though, they will only suggest possible paths.

Mentors like this in fiction: Genie of the lamp in Aladdin.

6. The Mentor-Challenger or the Mentor Antagonist

The mentor challenger is not there to massage your ego. He/she is here TO SHAKE YOU UP but in the most positive way.

I call them the Ace cards.

One of my mentor-challengers is ruthless with me but I am not playing any game without him.

He tears my writing apart, gets me at every single wrong turn and sends me back to my script when it doesn’t hit the mark. However, he does it with kindness and with the desire to make me to be a writer better. And frankly, I wished I had known him earlier.

In fiction, Linda Aronson calls them the ‘Mentor antagonists’. Their function is not to please the hero; but to make her/him react. Often a mentor Antagonist will be mysterious or sinister, he/she will make a nasty comment and it will fuel your hero to prove them wrong.

Walt Disney once said: ‘You may not realize it when it happens but a kick in the teeth may be the best thing in the world for you’.

Why do we need them?

They will point out what you keep doing wrong, place you in the right direction and give you the push you need to go further in the game.

Examples in Fiction: Brad Pitt in Fight Club or Paris Geller in Gilmore Girls.

7. And finally...The Force

Came the day where I had to stand in front of my own students. I remember having the urge to give them everything I knew and to warn them about all the traps they needed to avoid.

Once, we talked about this young American man called George. He wrote a story about evil and good and a force within each of us. The filming was chaotic, the budget kept shrinking.

When the filming was done, some people even laughed at him when he showed them the first footage. George was feeling very low. When the film was finished, the distributor released it on the day where no one went to the cinemas.

The world was against him… yet he felt the force, telling him to TRUST.

Against the odds, millions of people rushed to watch George’s movie.

Forty three years later, the film is a cultural phenomenon. George was right.

Trust yourself. You have the answers to your questions. Mentors are here to enlighten the possible paths for you, but you are the one who decides. Of course, you’ll make mistakes along the way, as well as I’ll make mistakes and your mentors will make mistakes but it’s the only way to grow, to learn and to become better at what we do.

Example in fiction: Luke Skywalker once hero… then mentor, just like you.

Good luck my friends!

To my mentors: Lucy V. Hay (writer and goddess), Kary Oberbrunner (my amazing and inspiring co-writer), Sally Bibb (friend and Ace card),  Phil Clarke (Ace card), Sara McDermott Jain (Ace card), Elinor Perry-Smith (Ace card), my soul sister Joy, my brother-in-law Dan (who catches me when I fall), my accountability partner Anne, my great students, my lovely children, Yves Lavandier (master of craft), Linda Aronson (master of craft), Sarah Treem (model), Damon Lindelof (model), and of course Yoda (favorite character).

Thank you all for inspiring me and guiding me on my journey.

Interview with Phil Clarke

by

Phil Clarke (aka Philmscribe) is a UK-based script consultant and screenwriter with over twenty years service to cinema.

After years working at the coal face of film on such features as Sleepy Hollow, Enigma, The Beach and two of the biggest box office franchises: Star Wars and Harry Potter, Phil turned to writing – both for the page and the screen. His screenplays have been optioned both in the UK and Hollywood and his books have been published worldwide.

 
Sophie: Phil, thank you so much for accepting this interview.

Phil: Pleasure!

Sophie: Why is it so important for a screenwriter to work with a consultant?

Phil: It’s that vital second pair of eyes. Writers of their own work often are unable to see the wood for the trees. They are understandably too close to the project. Consequently, they only have a subjective view of the story and script. Someone who has no affiliation or attachment to the project but who has demonstrable industry experience and has made it their career to learn about screencraft and has helped countless others can provide that all-important objective viewpoint. 
 
When a novelist attached to a publisher releases a book, it’s not published sight unseen. It’s checked, proofread, edited, revised. Often an editor is assigned to the author who works with them to tighten, clarify, hone the story’s telling. Why should screenplays be any different?

Sophie: You often say that the writer’s voice is important, why?

Phil: First, let me try to explain what the writer’s voice is, for those who might not be aware…. It’s the overall style of the writing. How the writer phrases a sentence, communicates story aspects to the reader. Word choice, tone setting etc. For instance, we can tell the difference between reading a book by Stephen King and one by Hilary Mantel… and not just from the contrasting genres. 
 
And the key reason why the writer’s voice is so vital is that producers and production companies aren’t solely looking for that one-off project; they’re seeking a writer with a clear, assured, fresh writing style. Why? Because even if they don’t particularly go for the script, they may think you’re perfect for another project they have on the pile. So essentially, your spec script is a calling card for you as a writer. It’s a writing sample. This is how many professional screenwriters get their break. 

Sophie: Do you think screenplays competitions are still worth it? And if yes, which ones? Which events a screenwriter should attend?

Phil: Some are, for sure. Although you do need to place highly. At the end of the day, you need to ask yourself why you’re entering a script contest. Do you want to get your script optioned or sold, get it in front of those who can actually make your project? Or do you just want an ego boost? Many writers, if they’re truly honest with themselves, just want the latter. They want to get that First Place or Honorable Mention award even if it’s from Backwater Nowhereville Script Competition. But it’s not really worth anything. These small script contests can’t offer a way in, can’t truly link you to the people who are willing to stump up the dollars to option or make your project. 
 
And while we’re on the subject of script contests: please watch out for script contests’ free feedback incentive. As a freelance script consultant of many years standing, I have seen countless examples of this “free” feedback sent to me from confused clients. It’s as if they’ve not really read the pages. And often those that are hired to provide these ultra-brief notes aren’t experienced enough to give such notes. You don’t know who you’re getting them from, so why should you trust what they say? Another reason why you should seek out a reputable script consultant who has proven industry nous, who has a face, a name, an identity you can talk to rather than “free” feedback (which isn’t free as you’ve paid to submit your screenplay!)
 
Here’s a list of the good guys when it comes to script comps. But beware: these are tough to win. If you do manage to place highly in these, then you should give yourselves a pat on the back as you’ll likely get a very solid shot at becoming a pro within the industry. 
 
Nicholl Fellowship
Final Draft Big Break
Screencraft
Page
Bluecat
Script Pipeline
Austin
Scriptapalooza
Save the Cat Screenwriting Competition
Image by olilynch @ Pixabay

Sophie: Who is/was your mentor and what has she/he taught you?

Phil: I never had one single individual who acted as a mentor; it was more of a collective. The years spent working for movie productions, on the sets of major films, seeing first-hand how the likes of Tim Burton, Terry Gilliam, George Lucas, Chris Columbus, Michael Apted did their thing was a huge learning experience for me. I was fortunate to closely shadow Chris Columbus on the first two Harry Potter films, was with him on-set, in the rushes theatre watching dailies, in the production office, in editing, and accompanied him to all departments during principal photography and this priceless level of access – not to mention having the chance to bend his ear and get his take on filmmaking and writing and having him read my early work – allowed me to fully understand the filmmaking and script development processes.

I’ll never forget the best piece of advice he gave me. At the time, I was poring over paradigms and screenwriting formulae, and when I asked him about the validity of these, he turned to me and said: “Just write an entertaining story.” It was his way of telling me not to rely on these overworked plot structures, but focus on telling a story that entertains. If you can do this honestly, then you’re on the right track.

Image by qimono @ Pixabay

Sophie: What inspires you?

Phil: Great writing. Indomitable perseverance. Plucky underdogs. Unwavering self-belief. Beautiful cinematography. Effortless prose. Unyielding passion. 

Sophie: Which screenplay do you wish you had written?

Phil: Oooh good question!  Hard to pick just one.  Those that come to mind right now — Se7en. Back To The Future. Raiders of the Lost Ark.  There are also some I wish I’d written as I feel I’d have taken them in a different direction… but out of respect, I think I’ll keep these to myself!

Sophie: What is the project that challenged you the most? How did you get through it?

Phil: That’s a tough one to answer. I can’t really go into specifics about a particular script, but consistently the projects that tend to challenge me the most are those for which I’ve been hired to perform an Anglicisation Edit. I do have quite a number of writers who don’t count English as their first or main language but have written in this tongue and wish for me to improve the authenticity of their dialogue and action. This can be quite the task, particularly when the writer’s intention isn’t clear. Consequently, there is a lot of back and forth to establish intention so I can communicate exactly what the writer requires. 

Sophie: What do you do when you get stuck on your writing?

Phil: Ask questions. Work out WHY I am stuck. What am I struggling with. Then study the answers I’ve come up with and within these should be the way forward on how to get unstuck. Sounds simplistic, but it works. 

Image by Lukasbieri @Pixabay

Sophie: Are you writing at the moment? Can you tell us something about it?

Phil: I’m always writing. Whether it be lengthy reports on scripts, script commissions, polishing other people’s projects, rewriting, creative email correspondence, articles on writing etc etc… But I assume you mean, writing my own creative projects. The answer’s yes though only when I can spare the time as my clients’ work comes first, always. Right now, I’m doing some major world-building on an ambitious time travel idea. That’s about all I can say right now.

Sophie: If you could share one secret about screenwriting, what would it be?

Phil: These days, I don’t believe there are any secrets about screenwriting. There is no magic formula to success, no shortcut to making it. You just need to do the hard graft, keep practising, keep honing your craft, work on your storytelling abilities and writing style and build that portfolio of solid, engaging, entertaining work. Secrets suggest there’s some kind of hidden way, that all the people who have made it and are working in the industry are aware of it and aren’t sharing. Not so. 

As well as a writer for hire, Phil works as a script consultant; his clients have won or placed highly at major script competitions, had their projects optioned, while others have gone on to be produced, the best debuting at Cannes.
 
He can often be found spouting screenwriting advice or talking all things film on social media via @philmscribe on Twitter & Instagram, www.facebook.com/philmscribeconsultancy and writes an occasional newsletter packed with writing tips, news, interviews and exclusive offers that goes out free to all subscribers (known as Philmscribers!) – those who are interested can sign up at the bottom of any page of his website: www.philmscribe.com 

10 Screenwriting Books to Read in 2020

by

Here is a list of books that have changed my craft. I really hope some of them will help you too.

So to be clear with everyone, I don’t get sponsored for this list and these books are not classified in order of importance either.

1. The Idea: the Seven Elements of a Viable Story for Screen, Stage or Fiction by Erik Bork

‘The hard part is creating something that the ‘right people’ would be excited by if they read it.’ Erik Bork

It’s THE book that explains what a strong concept is and why it’s so important to have one before starting any writing. This book is well-explained and down to earth. I also liked the practical and humble voice of the writer.

Why would you need this book?

  • To make sure your idea is bullet proof before embarking on a long writing journey.
  • To become the best at coming up with marketable ideas.
  • To have a clear insight on how the industry works.

2. The Anatomy of Story by John Truby

‘Write something that may change your life. This is a very high standard, but it may be the most valuable piece of advice you’ll ever get as a writer. Why? Because if a story is that important to you, it may be that important to a lot of people in the audience. And when you’re done writing the story, no matter what else happens, you’ve changed your life.’ John Truby

This book is a classic for screenwriters especially for those who think that most films are predictable. Mr Truby has a way to ask the right questions so you can write your story ‘organically’ and not generically. Brilliant book, great teacher.

Why would you need this book?

  • Your story is too predictable and you don’t know what to do about it.
  • You want to write a story that feels organic and original not a copycat.
  • You want to create characters who feel real and multi-dimensional.

3. The Coffee Break Screenwriter by Pilar Alessandra

‘Ten minutes gives you the ‘ticking clock’ every writer secretly needs: a deadline.‘ Pilar Alessandra

Pilar Alessandra is well-known in the industry, she was the Senior Story Analyst at DreamWorks SKG before becoming the Director of the writing program On the Page. The Coffee Break Screenwriter is always on my desk. Each time I get stuck on a script, I can count on this book to sort me out. I would also recommend any of her seminars. She is A-M-A-Z-I-N-G.

Why would you need this book?
 
  • You always complain that you don’t have time to write.
  • You don’t know how to organize your writing sessions.
  • You want your characters and story to be multi-layered.

4. Writing Diverse Characters For Fiction, TV or Film by Lucy V. Hay

‘Bad characterization feels two-dimensional, wooden, unbelievable and inauthentic‘. Lucy V. Hay

Lucy V. Hay is an author, screenwriter, producer, script editor and, founder of one of the most popular blog for writers: Bang2write. Always ahead of any trends, Lucy knows her stuff inside out. Characterization is one of the most important element of your screenplay. If the reader doesn’t feel for your main character, you’re out, as simple as that. It doesn’t mean that your character has to be lovable though…

Why would you need this book?

  • You get notes from professional readers telling you that your characters are clichéd or two-dimensional.
  • Your characters look the same (slim, young and white) and thus don’t represent the majority of your audience.
  • You feel your story is boring and going nowhere.

5. The 10-Day Screenplay Solution: Learn How to Write Lightning Fast by Ken Miyamoto

‘Writing a screenplay is no simple task. While it’s great to study up on the various formulas, directives, structures, and methods, all that you really need when you finally start a script are the basics. Everything else will fall into place. Embrace the Less is More mantra, and you’ll have better dialogue and better scenes.’ Ken Miyamoto.

Ken’s book is about uncluttered writing. I call it ‘Feng Shui writing’. Ken’s philosophy when it comes to screenwriting is: Less is More. I love it. Ken Miyamoto also has a website that no screenwriter should ignore: ScreenCraft.

Why would you need this book?

  • You write too much prose or/and dialogue.
  • You want to learn how to write great descriptions.
  • You want to avoid making mistakes that gatekeepers are tired of.

6. Getting It Write by Lee Zahavi Jessup

‘Always be writing. Actively, continuously, on an ongoing basis. The more you write, the better you will get. It’s as simple as that. Your third script will be better than your first; the fifth better than your third. As a working professional, it’s your job to continuously come up with exciting new work.‘ Lee Jessup

This book is not about how to write a screenplay but how to build a career as a screenwriter. It gives a good guidance on the strategy to follow. And needless to say, it’s a proven strategy. Lee Jessup is another big name in the industry. Her honest approach might scare some, but she is right when she says: ‘your writing habits are to put your head down and do the work.’

Why would you need this book?

  • You want to be a screenwriter but you have no idea how to get there.
  • You need an insight on how the industry works.
  •  You want to go from amateur to professional screenwriting.

7. My Story Can Beat Up Your Story by Jeffrey Alan Schechter

‘Beyond wish fulfillment, a good story should offer a fully dimensional emotional experience’. Jeffrey Alan Schechter

I have to admit, I have a soft spot for this book. I have read many screenwriting books in my life but this one is different. Expect some a-ha! moments while reading it.

Why would you need this book?

  • You are confused on structure.
  • All your characters always sound the same.
  • You are looking for a method that allows you to be creative.

8. The Guide For Every Screenwriter by Geoffrey D. Calhoun

‘Talent can be cultivated. It can be learned and taught with the proper instruction and a good mentor. No one is born a blacksmith. They became one with hard work. So too does the screenwriter’. Geoffrey D.Calhoun

In this guide, you’ll find all the tools you need to write your screenplay from choosing your theme, your concept, characters, structure, plots, format… to what comes next, such as: the rewrites, the coverage, the synopsis template and networking. Geoffrey was listed in the top 100 Indie writers in the world and was the founder of wefixyourscript.com.  This guide is for every screenwriter: the newcomer and the experienced writer. Excellent book.

Why would you need this book?

  • You are looking for an all-in-one book on screenwriting.
  • You need to learn the main steps of the creative process.
  • You need to learn the specific features of each step.

9. The 21st Century Screenplay: A comprehensive Guide to Writing Tomorrow's Films by Linda Aronson

‘All of us, experienced writers and newcomers, need to take on competition in the way that Olympic athletes do: calmly, consciously and consistently aiming high, pushing our imagination and talent to the limits.’ Linda Aronson

I cannot write a post on screenwriting without mentioning Linda Aronson, who is famous for her work on non-linear structure and complex multiple storylines. Linda also knows the rules of storytelling inside out and will break them one by one with ingenuity. She has a ‘real but unusual’ insight on writing screenplays. I like the fact Linda invites us to adapt the structure to the story and not the other way round. Exceptional book. Not to be missed. Expect some light-bulb moments reading this too.  For more information, I invite you to visit Linda’s website https://www.lindaaronson.com/

Why would you need this book?

  • You would like to go off the conventional way of telling a story.
  • You want to master the art of flashbacks and non-linear structures.
  • You want to write complex multiple story-lines.

10. Writing Drama: a Comprehensive Guide for Playwrights and Scriptwriters by Yves Lavandier

‘In every conflict, there are seeds of misfortune and destruction but also seeds of union, understanding and enrichment. Conflict makes things move forward‘. Yves Lavandier.

Last but not least: La Dramaturgie (Writing Drama) by Yves Lavandier. I first read this book in 1997. Even today, I often find myself reading some chapters over and over again. Whether you are writing a novel,  a play or screenplay,  this book covers it all: structure, characterization, conflict, dialogue, comedies, short films, documentaries… It’s my precious book, I swear by it and I know that I’m not the only one.

Why would you need this book?

  • You want to know what lies behind the rules of storytelling.
  • You are craving to add some depth to your writing.
  • You are done with gurus and ready made formulas.

Happy reading and keep writing!

10 Characteristics That Successful Writers Have In Common

by

Is there a secret path that leads to a successful career? Do you need to be some kind of genius to make it in your field? Or is it just that some people are more lucky than others?

In my career, I had the opportunity to meet very successful people and even though they were all from different backgrounds or did different things, I noticed they all share the same characteristics that make them incredibly successful.

1- They Take 100% Responsibility for Their lives

If they fail, they don’t blame anyone for their fall. They take full responsibility. They never point a finger at someone for their mistakes. They ask themselves: ‘what did I do wrong?’ ‘How can I rectify this?’ ‘What can I learn from this setback?’ or ‘How can I improve myself’? And If they don’t like a situation, they review their strategy and move on.

2 - They Are Reliable

When they say ‘yes’, they mean it. They show up on time and assume their choices even if the result is not what they expected. They don’t mess people around. They know that time is a precious gift. They don’t like wasting it and they don’t waste others’ either.

3 - They Make Quick Decisions And Take Immediate Action

They don’t go into analysis paralysis. If they fail, it’s not a big deal for them because they see failure as a way to learn and grow. They also know that they need to take drastic action in order to achieve what they want. They also have have strong methods to fight against procrastination. See post: 7 Ways to Overcome Procrastination

4 - They Are Authentic And Respectful

They are honest, respectful and authentic. What you see is what you get. They surround themselves with people with identical values. Respect is important for them and they honor any kind of people regardless of their background. They are good listeners and curious about others which make them exceptional writers too.

5 - They Are Givers

They are generous people. When they give, they give with all their heart and don’t ask for anything in return. They have a real wish to help or inspire people. They are never jealous of others’ success either. In fact, they are very happy for them, they encourage people to succeed because they know that creating a Mastermind group will help them to grow further in their career.

6 - They Love What They Do

It’s like the old saying: ‘Choose a job you love, and you will never have to work a day in your life‘. They work everyday and are happy to do so. Their mind is always working. They find inspiration everywhere. Life, for them, is exciting. They are enthusiastic in everything they do.

7 - They Don't Suffer Fools

They have values and stick to them. When someone crosses their line, they’re out! They don’t suffer fools. They don’t justify themselves and don’t feel they have to either.

8 - They Show Up Everyday

They show up every day. Even when they’re not feeling like it, whether they are tired, sick or just can’t be bothered. They are confronting the reality of their demands. People might think that they might have some kind of supernatural powers or something, they don’t. They simply  persevere and work harder than others. They always push their own limits to attain their goals.

9 - They Are Positive People

There is a positive vibe about them, you feel good around them. They never criticize others. They know that on this planet, everybody is doing the best they can and therefore they don’t judge people if they are not on the same level of understanding than them. They know that everybody here is ‘in becoming’ to quote Dr. Cha-Zay. Their minds are too busy creating, they don’t have time for negativity.  You are either a Creator or a Critic.  They have chosen their camp. They have decided to change the world not to look at it.

10 - They Face Their Fears

They know what scares them. They consider their fears and decide to do something about it. They confront them instead of avoiding them. Once they’ve gone through them, they feel good about themselves and that’s why we think they have so much confidence. See post: Face Your Fears And Create Amazing Characters.

Wishing you all great success in your career!

Face Your Fears And Create Amazing Characters

by

A story without conflict is a good sedative.

No one wants to read a book or watch a film where nothing is happening in the life of the characters.

But when it comes to conflict or obstacles, writers often get confused.

Many times, I’ve come across scripts where the tension is weak or just expressed verbally like an argument between two characters, but depth is missing.

In The Anatomy Of Story, John Truby wrote: ‘A simplistic opposition between two characters kills any chance at depth, complexity, or the reality of human life in your story. For that, you need a web of oppositions.’

Some writers can be great at creating an external (or outer) conflict, like a car chase or a disaster, but forget to provoke any change inside their characters (inner conflict).

And as Lisa Cron says  in the video below: ‘Stories are about internal changes. It’s about how we overcome misbeliefs. Stories are about the raging mess that we live on the inside. That’s what we want in a story’. Watch the Lisa Cron’ speech here.

And I agree.

When we watch a story, we want to know how others handle their ‘mess’ hoping that in this process we learn something.

As a script judge I can tell you that the winning scripts are always the ones that have both inner and outer conflict in their characters regardless of their plot, structure or concept. And by the way, your character doesn’t need to be lovable.

So where to start? How to add inner and outer conflict to your character?

You give them fears.

Dr Cha-Zay Sandhriel Ph.D., C.H. wrote a book called The 4 Gateways. In this book, she explains that she met a Mayan gatekeeper who said to her that to succeed in life, everyone must go through the 4 gateways in the following order:

1/ The Gate of Fear

2/ The Gate of Clarity

3/ The Gate of Power

4/ The Gate of Wisdom

According to the Mayan Gatekeeper, no one can achieve anything unless they confront their fears.

The gate of fear is easy to recognize: it’s everything that you’ve tried to avoid at all costs. Almost everyone tries to escape that one.

It takes courage to face your demons and most of the time it is not a nice experience.

In her book, Dr Cha-zay quotes Helen Keller who confirms this ancient wisdom: ‘Character cannot be developed in ease and quiet. Only through experience of trial and suffering can the soul be strengthened, ambition inspired, and success achieved’.

Think about your life.

When was the last time you felt proud of yourself?

I bet you it was a time when you got out of your comfort zone, a time where you scared yourself.

It is exactly what an audience want to see in a character.

We want to see how others overcome their fears because we want to learn from it. And if we watch a film or read a book where the character does that, we feel inspired.

After the gate of fear, comes the gate of clarity.

Clarity is when we finally know what we need to do in order to succeed. When we have a plan.

I would like to quote John Truby again: ‘Action is not possible without some plan, in life and in storytelling. The plan is the set of guidelines, or strategies, the hero will use to overcome the opponent and reach the goal’.

Let’s take the example of Star Wars (1977).
 
To become a Jedi, Luke goes on training with Yoda.
 
Luke looks at the forest and says: ‘I feel cold. What’s in there?’
Yoda: Only what you take with you.
 
Luke goes through gate number one and confronts one of his biggest fears / his dark side: his father (aka Fear of Authority).
 
After his training with Yoda, Luke comes up with a plan to defeat the Death Star (the gate of clarity).
 
Which brings him to the next gate: The gate of (inner) power where he becomes a true Jedi.
 
He can then hope of going through the gate of Wisdom like Yoda.
 
Funny enough, George Lucas wrote another character who has similar fears. Any ideas?
 
Yes. Indiana Jones.
 
Indiana Jones also has the fear of the Dark Side (Nazis : authority).
The genius of George Lucas is to give us a believable compelling character by showing us many layers of the same fear one character may have. Indiana Jones has a problem with authority with the Nazis but also with his dad.
(Lucas also added a fear of snakes which makes us go ‘oh no snakes!!!’ each time we spot one).
 
Do you see now how simpler it is to talk about fears rather than conflict and obstacles?
 
And do you see how we are easily hooked on our character’s fears?
 
Now the reverse is also true. Imagine you have an anti-hero.
 
First thing your anti-hero will do is to avoid his fears (don’t we all?).
 
As a consequence, things get worse – of course your character doesn’t know it’s the reason why. He loses ‘the plot’ and accumulates problems.
 
Let’s take Mr Robot as an example.
 
Mr Robot (or shall I say his son Elliot), refuses to acknowledge the ghost of his father (authority) and tries to avoid him by any means necessary.
Elliot goes deeper into drug addiction and of course, things get messy.
(By the way, you can see that Freud was so wrong blaming it all on mothers!).
 
As a consequence, Elliot loses clarity. He accumulates mistakes and we expect a negative outcome at every corner.
 
These four gates work both ways.
 
One is for a positive outcome (comedies, adventure, fantasy), the other for darker stories but they both work.
 
And guess what, from there, you’ll get the skeleton of your structure.
 
And if your next question is which fear to inject into your character, think about some of your own.
 
Every one of us has at least 20 fears. So dig inside and find out what they are. (it will take you a few days or weeks even).
 
Another thing, as we have so many fears, why not share some with your antagonist too?
 
It will only make them more real and appealing.
 
Your characters are pure fiction but they are part of you, they suffer and succeed like you.
 
Good luck !
 

Dealing With Rejection

by

So here is the situation:

You have sent your polished CV with a nice cover letter to a company that you’d love to work for OR you have sent your manuscript / spec screenplay to people you’d love to work with. You wait patiently and here it comes: the big fat NO.

Although it’s fair to say that everybody experiences it, it doesn’t make us feel any better. It hurts.

Rejection triggers old feelings of low self esteem, chronic self doubt and unworthiness.

It’s even harder when rejection becomes a repetitive habit. It can easily lead to depression.

There are 3 types of rejection:

1.The Silent Rejection: Silent But Deadly

That’s the most hurtful one.

No one takes the time to write a line to say that you are not the appropriate candidate or that your manuscript doesn’t fit their criteria.

They are so busy or overwhelmed by the number of applications that they have other priorities than letting you know. Hum…

Although it’s not right, it’s understandable. Nowadays it is very common to see one person doing the job for 2 or even 3 people. Those employees are crushed under tons of pressure at work.

My advice: Don’t take it personally. If you haven’t heard anything from them, give them a gentle nudge with a short email or phone call.

If you are still unsuccessful, move on and try somewhere else. Do not stop.

2.The Humble Rejection: When Timing Is Not Right

This one is not as harsh.

They send you an email saying that unfortunately they can’t employ you at the moment or they can’t take anymore projects this year. Well, in life, my friend, everything is about TIMING.

Years ago, I was desperate to work for a big company that was offering at the time stability and good salary. It was the best company to work for in the city I was living. It took me 5 attempts (5!!!!) until I succeeded. Why? Because the fifth time, the timing was right. So sometimes it’s worth to say don’t give up, patience is a virtue.

3.The Useful Rejection: The One With Feedback

This one is my favorite: the ‘blessing in disguise’ rejection.

Years ago, I wrote a novel I was so proud of. It took me ages to write it and meant so much to me. I sent it to a well known publisher. A month later, I received a letter saying that they would not consider my novel at this stage but amazingly they actually made the effort to tell me why. And that is PRICELESS because it gives you the chance to get better at your craft.

When I first read the letter, I wanted to cry. I slept on it and the following day, I sent them  the nicest thank you card I could find (yes by post!).

Moreover they finished the letter by saying: ‘once you have finished rewriting your novel, we are looking forward to hearing from you again’. You wouldn’t believe the boost that those words gave me.

So sometimes rejection is a door that closes and opens another one.

And at other times, the door doesn’t shut completely, it stays slightly open.

 
 

So what to do when facing rejection and how to keep going?

Let’s remind ourselves that J.K Rowling has been rejected many times with her Harry Potter book. Her agent told her that she shouldn’t expect to make money out of her writing.

Another famous one is Sylvester Stallone. I can hear you laughing from here but the guy sold more than 30 screenplays and made millions out of them, so he has all my respect. He also wakes up every day at 3am to write (that is sheer determination at work!). In an interview he said something that has always stayed with me: ‘You must fail 100 times to succeed once. That’s part of it. No one succeeds the first time. You only learn when you fail, you don’t learn when you succeed’.

Did you know that Henry Ford failed and went broke 5 times before he succeeded? Louis Pasteur was considered by some of his teachers as a mediocre pupil. Albert Einstein was refused admittance to the Zurich Polytechnic School. In 1933, Fred Astaire was judged by the patron of the MGM in those terms: Can’t act, can’t sing, slightly bold , can dance a little.

To finish I would like to share with you an amazing Ted Talk with Jia Jiang (What I learned from 100 Days Of Rejection), it has totally changed my perception on rejection.

Yes, rejection can be challenging but it can also be positive. Rejection is an awakening gift in disguise. It makes us question ourselves and allow us to grow.

So don’t take rejection personally. Martin Luther King once said : We must accept finite disappointment but never lose infinite hope.

Do you want more inspiration, watch this:

Sylvester Stallone’s Top Ten Rules For Success

7 Ways To Boost Your Writing Session

by
OK. You have a few minutes ahead to write something. Great!
Except that you don’t know where to start and you are staring at a blank screen.
Not good.

So today, I have put together some tricks that could give you the little push that you need to get that writing done.

1- Write In Front Of Your Audience

Robert Cialdini, who wrote the excellent Pre-Suasion, A Revolutionary Way to Influence and Persuade, explains that his best writing is often produced when he sits behind a window watching people passing by, rather than at his quiet desk.
 
Bernard Werber (French novelist), who writes a bestseller a year, always starts his day writing at his favorite café in Paris. Not only does it keep him away from procrastination but it also inspires him to write for the audience that he has in front of him.
 

Watching people passing by (i.e. your target audience) is far better than writing on your own. It also increases the chances of your book, screenplay or play being bankable. 

2 - Match Your Writing With Music

In Pre-Suasion, Cialdini also explains a marketing experiment: When supermarkets play French music, French wine sales increase. Strange? Not so much once you know that everything around us influences our subconscious.
 
Knowing that fact, why not use it to your advantage? Are you writing a drama? Have you tried writing while listening to Max Richter?
 
If Fantasy is more your thing, have you tried listening to mystical forest music?
 
Find the music that works for you and you’ll definitely notice a change in your writing.
 
Music increases the level of dopamine in our bodies and also taps into the deepest emotions held in our subconscious. And as writers, that’s exactly what we need: feel and create deep emotions.
 

3 - The Zeigarnik Effect

Another tip that I have learned from Cialdini (and this one is priceless), is The Zeigarnik effect:
Never finish a writing session at the end of a paragraph. Why?
 
Because the brain doesn’t like unfinished tasks.
Finish the paragraph half way through, it will nag you until you get to the end.
So don’t allow yourself to finish it until your next writing session, it’s the best way to get back on it the following day.
 

4 - Don't Wait For The Inspiration To Come

 
I got this tip from one of my favorite anti-self-help book: The Subtle Art of Not Giving a F*ck by Mark Manson.
 
When the task is huge, we don’t even know where to start. And often, because of that, we don’t start at all (and beat ourselves up for it).
 
Mark Manson offers the best formula against it:
 

Action → Inspiration → Motivation

If you have no inspiration, don’t sit and think about it, start writing. Start typing. Do some research, work on it.
 
Even if you don’t know what you are doing. The simple fact of working on it will generate the right ideas to show up in your head.
 
So forget inspiration, start without it. Trust me, that’s when it shows up!
 

5 - The Power of Mini Goals

The brain is not good with long term goals. The further it is set in the future, the more likely you’ll become demotivated. I am not suggesting you shouldn’t have long term aspirations, I am simply saying pave your long term plan with small, easy and achievable goals in between.
 
After the achievement of your mini-goal, celebrate and reward yourself. Even if the world around you doesn’t find it impressive. Who cares? The most important thing is what you think.
 

6 - Do Something Else

It’s very often when we decide to give up temporarily that great ideas come to us. Doing the washing up, playing guitar or walking the dog are great for writer’s block. Reading about different topics from your story is also a great way to feed the project that you are working on. Although it may seem unrelated, your brain will make a way to establish a connection with your writing and unlock a new set of ideas.
 
So read this book on the origins of Jujitsu or binge watch The Leftovers, Peaky Blinders or The Affair. Even though you think you are not working, don’t worry because your brain is!
 

7 - Don't Put Yourself Down And Don't Aim for Perfection

It’s always when we are ready to write that comes this nasty little voice inside our head telling us that what we are writing is irrelevant, useless or pointless. Don’t listen to it. Don’t. Because if you do, you’ll get nothing done. Overcome it by telling yourself that surely, somewhere on the planet someone will like it and keep writing.
 
Good luck!