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visits member for 1 year, 10 months
seen May 16 '13 at 23:00

Oh wow, someone is reading this? Maybe I should put something interesting here instead of the typical "likes long walks on the beach" fluff?

Lets see... *I enjoy writing, and plan on making a career of it. *I'm teaching myself art, because I love graphic illustration, and graphic novels are interesting. *I have a great passion for storytelling in all forms, and if there was no money in writing (unfortunately this is true for many writers) I would still do what I love.

In short: I'm passionate about spinning tales, which I imagine is the case for many people on WSE. I guess we have something in common.


Oct
24
comment I suck at plots. Is there a way to sort of train oneself to think of creative plots, specifically in scifi?
I don't recommend story Engineering, and I'm an Architect when it comes to writing. I have a few friends who are the 'Gardener' type and Story Engineering didn't work for them either. Writing is as much about finding your own process as it is about learning from others. I'd suggest going to Barnes & Noble to read a bit to find out if it is your cup of tea. An even better idea is to use The Snowflake Method, consult TvTropes to find similar plot ideas, and then sit down and ask yourself, how can I make my narrative different?
Oct
18
comment Is a chapter the equivalent of a sequence?
This explains why studios seem to be more comfortable with making progressively longer films. Technology has changed. Interesting, and thanks for the link.
Oct
18
comment Is a chapter the equivalent of a sequence?
I understand sequences are used to group scenes, just like chapters are used, but structurally are there any differences in usage? I noticed for example the average screenplay almost always has 8 sequences, while a novel has any number of chapters. When a novel is translated to screenplay the eight sequences still crop up (just with longer lengths per sequence) even despite any number of chapters. Is this compacting of material when rewriting a narrative for cinema merely an artifact or constraint of the medium?