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Comments
Anyway, looking at it, it does not appear that you can turn off signed reviews.
They would find a way.
They could find out his email and send messages there (Not like that doesn't have a solution)
Either way, if you're definetly are going to get into screenwriting and have written scripts already, I think it would be much better if you started pitching your shows as well as thinking of the scholarships. Not just because you might be succesful (Long shot for someone young as you due to the whole working experience catch 22 thing) but because you actually get to hear from people who finance projects what they're looking for and what would make them hire you. Not to mention that you get to network and keep contacts if you play your cards right.
Screenwriting is definetly a collaborative thing, though and you need to put your name out there, even if it's as "That annoying kid who knocks doors far too often".
I'd like to think there are multiple ways in, and some of them are preferable to me, but yeah I'll definitely keep that in mind. Thanks.
Re: Saturn: I think where people were taking issue with your attitude about the whole situation was not so much that you don't know what you're doing, but that you came off as merely seeking validation, and, therefore, you came off as being overly content with what you have. It's fine to be confident in your work, provided you've done the research, but there's still every chance that some people will take issue with some aspects of it. IJBM especially; I know Nova's a pretty hard critic, and if I were inclined to comment on others' works in the past, I would be, too. tl;dr: It's on you to bring forth a work that's good, not us to react in the way you want us to, if that makes sense.
I know everyone's basically already covered this, but I would have said something earlier if time wasn't running out before class started, and I would have felt weird if I ended up not giving my take.
(Though, as far as my critical nature goes, I'm currently a freshman Creative Writing major, so I've been in workshops, and I've had something of my own get called out on a pretty big failing (namely, a glaring lack of focus), so I should become steadily better at phrasing my ideas less harshly over time, so, if people actually post in this thread again, I might try my hand. Or post something, if I can make the time to really settle down with an idea)
Re: Fictionpress: Oddly enough, I just checked it out earlier this morning. Wasn't really impressed, from a quick glance. I'd like a dedicated writing community to join, too, but it might be hard to settle into one besides Something Awful's, and in that case I'll just be lurking for a while.
Right, sorry for making it sound like I was cocky and have my work in higher regard than I actually do. My apologies.
I've been writing more now as therapy instead of anything else, but really how I've always approved writing (and what i learned through my classes on creative writing) that frankly its unlikely that you'll be massively successful or really live as a creative writer. But hey, I love writing and I like to improve on it, and when I did upload my stories way back when I got a following (and fan-art, my 15 year old self had his ego stroked to no end).
But as for writing itself though one thing I've come to hate, especially since I see it in anime a lot, is info-dumping. Heinlein did this too. I think its a problem in that the author really wants to talk about all these parts of the universe he created, which I admit I used to fall into. I personally prefer it when you can smoothly integrate knowledge about the universe in bits and pieces, being direct with some, but allowing the audience to infer the rest. The Elder Scrolls to me did a great job with the "Chronicles of Vivec" which, indirectly, tell you a lot about the Tribune and how things really happened.
That and its more of a personal thing, but for more dramatic stories, I hate it when there isn't any sort of central conflict and you have whatever. Freezing is far from a paragon of storytelling, but its annoying as hell when its just the characters fighting each other for no real reason.
Of course it is very unlikely that you'll be successful as a creative writer. That goes without saying. But as far as I am concerned, that isn't a good reason to not try, because if you don't try then it's 100% guaranteed that you won't succeed.
It really depends on what you mean by "succesful" because there's definetly lots of work you can take, even if it's not creatively satisfying (Such as being a story editor or a continuity supervisor. Or working on shitty stories pitched by producers trying to ride on a trend.) but you can easily make a living from those jobs.
It's just that not all of us get to always write, tell and sell the stories we want to tell.
Right, I think everyone has a different definition of what they consider successful for them.
So, I want to get started on the ideas and outlining of a script about a young guy who can suddenly control technology. I'm thinking of making it a "techno-thriller" of sorts, dealing with some themes of our dependence on technology and the internet and the different societal issues that can spring from it. I want to be able to approach this science fiction idea with some realism, so where should my research start?
I would suggest reading about transhumanism.
I would also avidly warn against reading transhumanist fiction, because with the exception of Dresden Codak, all of it I've read tends to be absurdly similar.
But I feel reading the fiction would be important, considering what I'm writing will deal with some of those things, I want to make sure I break the mold.
You should write what you want to write, not write to break the mold for no reason. That will result in a poorly thought out story.
Before researching or even reading other stories, you should try to write out the outline of the story you want to write. A story is... made of Legos (Characters, locations, plot) and not Mega Bloks (Trying to not do what others haven't, concepts).
Reading a bit on the topic of interest could help you get inspiration, but never paint by the numbers of the research you've done.
...That's not what I said I was going to do.
It is a known fact in screenwriting, and I'm sure all creative writing, that it is important, above all "rules", to not be boring, and usually, something original. Obviously, a good story is the most important thing. But having an idea, or a character, or whatever that is unique is important.
Having a cliche can be fine, but if you can avoid it with something you consider better, then why wouldn't you?
Yes it is.
Several reasons. One, even cliches can be handled to make a great story. A cliche is generally a cliche because it is a worthy story device, after all.
Two... No, that actually covers it. Originality is great and all, but it is much, much more important to have a good story. Avoiding using cliches and trodden ground... can work, but to deliberately avoid them nearly always comes off as feeling forced and trite.
No it isn't Nova. I said "I want to make sure I break the mold."
I did not say "I'm going to place emphasis on NOT doing what others are doing, before focusing on creating the best possible story I can. I'm going to read other stories in this genre, and then create my story by actively avoiding those things. Screw good storytelling."
You made an assumption. You assumed that since I want to be original, I must not want to actually try and create a good story. That being original is the most important thing to me. It is important to me, without a doubt, but I know creating a good story with good writing is top priority.
To everything else you said, I agree.
That is most definitely the implication in that post.
If that is not what you meant, then OK.
Well, sorry if that is the implication. It isn't the implication.
But to what else you said, I feel like there is no reason to use a cliche if you don't have to. If you have something you feel is better that ISN'T a cliche, use that instead. Especially in movies, where audiences these days are far more aware of that shit.
My last post is in response to that. A good original idea is better than a good cliche.
An entire book composed of original ideas never used before?
Did I say that? Obviously that's impossible.
To this (fucking hell) I would have to point to the Mistborn saga again.
Thing is, that series is cliche as fuck in many regards. I mean, the first book has the old, wise mentor with powerful magic abilities leading a rebellion as he trains up a street urchin who is even more powerful than him and eventually takes over the rebellion and blah de blah de blah.
But the series would not work anywhere near as well without those cliche elements, the same way as it would not work anywhere near as well without its original elements.
The first and foremost thing to do is create a good story. For some works, that means using original elements wherever either would do; for other works, that means using cliche or otherwise worn elements where either would do.
I guess it just depends on what appeals to you then. Sometimes, the cliche can be a detractor, regardless of how "crucial" it is.
We don't have to keep saying the first thing to do is to create a good story. We all know that at this point, it's obvious. I can't guarantee that someone professional reading my script will say "This, this and this is stuff we've all seen before, change it and it's perfect." but it's likely.
Example, please? Or at least elaborate?
It's 90% more likely they'll be telling you "Look, this is kind of off putting, maybe introduce some familiar elements."
I find that most works that tend to get hailed as original are actually formulaic plots with an interesting spin or two.
I think you might find this to be interesting reading.
Also if you actively try to avoid any cliche you might end up with Finnegan's Wake.
I'll leave that being a bad or good thing to you to decide.
Well, I already said that "actively trying to avoid any cliche" is not my intention or what I'm implying.