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At the end of our second short story competition, I put together these
guidelines based on comments from our readers and administrators about
what makes them want to recommend - or throw out - a competition entry.
Some of these points may seems obvious but it really is worth checking
your entry to see how it measures up.
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The thing I want to talk about this week is random and unnecessary tension generation because it ruins almost every TV programme I watch and, once I've explained it, I like to think it will ruin all your TV viewing too. |
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I’m a producer who has enjoyed both sides of the writing seminar
experience. As a writing fellow years ago, I attended many diverse
seminars. Then, as a story analyst for a major production company, I
developed my own system for understanding and applying story structure
which I now teach in a seminar of my own. There are three things I
explain to people who question or resist “learning how to write”
through professional seminars.
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When new screenwriters finish their scripts, they often begin the
search for a rep to submit the work around town. But is that the best
way to do it? Well, sure! But it's not the ONLY way to do it.
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British author Salman Rushdie, 60, says that time is running out, and with only a handful of books left in him he is choosing his subjects carefully. |
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Even aside from the requirements of search engine optimisation, writing
for the web is significantly different to writing for print.
Many
of the most important of these differences are results of the fact that
reading from a monitor puts more strain on the eye than reading from
paper. This extra strain means readers are more likely to skim-read the
text – or ignore it all together.
Consequently, most websites
tend to focus on images and bold headings to get their messages across;
but, in many cases, text is still a requirement.
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