ichabod

Screenplay: Finished

Just finished the screenplay version of Ichabod. The first draft, at any rate. It clocked in at 106 pages, and it’s by far the most unique thing I’ve done in a long time. I have no idea if it’s any good or not. With books, I have a lot of experience–not just writing them, but reading them. With screenplays . . . not so much. I have tons of experience watching movies, but I have only read a few screenplays cover to cover. That puts me at a big disadvantage when it comes to making one. Ideally, I should have […]

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Adapting Yourself

So I’m about a third of the way through the Ichabod screenplay project now, and it’s teaching me quite a few things–the only trick is that I’m not entirely sure yet what those things are. Some things are obvious: my dialogue needs some work here and there to get it up to snuff. Thinking about someone actually saying what I’m writing in a conversation is different than writing it, if that makes sense. I should keep that in mind when I’m writing my next project. On the other hand, other things this process is teaching me are muddier. For example,

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Review: Dear Zachary, by Kurt Kuenne (and a Minor Update)

I love love love it when I have the chance to watch an incredible movie. One of the best aspects of it is that incredible movies are like snow days: you never know when one of them is going to happen to you. One of the reasons I watch movie after movie is in a never ending quest to have those experiences–to see films that totally blow me away. Recent ones include The Diving Bell and the Butterfly, and Redbelt. Last night I had the chance to add another to the list: Dear Zachary. I knew practically nothing about the

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Adapting Your Book to Screenplay

For those of you interested, I’m now working on a screenplay version of Ichabod. Not because I’m getting paid to or anything (I wish), but more because the option’s there, so why not explore it? I write everything on spec anyway, so this really makes no difference. Plus, it’s showing me a thing or two about my writing. For one, it brings dialogue to the forefront, something I feel like I could use some focus on, anyway. But I think what’s really going to be challenging is trying to decide what to cut. There’s no way I can transfer all

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A Question to You

Say you had a friend who was a film maker. Say this friend read one of your books and wanted to work on getting it to the screen. You’ve shopped this book around a bit before, but it’s a really strange book, and it’s pretty hard to sum up in a query. So it’s been sitting on your shelf, gathering dust for a year or so. So your friend has two proposals: 1. Work on a screenplay of the book and see if a big name studio will bite. 2. Make an independent movie and see what happens. Do you

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