Thanks for all your support during this contest cycle! This is where it gets exciting – first Winter 2019 Screenwriting Contest results and a chance to share our judging findings and reasons with you. Whether you submitted or not – this is worth reading on about. (more…)
Announcing results is the tough bit… especially at the Quarter-Final stage, where we have the most decisions to make, and the most people’s to disappoint about their writing submissions. At WriteMovies we make it our job to constantly open a door for writers and push their work to the next level, and take the ones that are ready into the international industry – but everyone is starting from a different place and whatever level a writer reaches they always have further steps to take to succeed and sustain themselves in the industry. To help you understand our logic and tips for how to make your work stand out to us, our Director Ian likes to write articles about “What Your Writing Has Been Telling Us” over this time. (more…)
Most sci-fi is just fantasy in a different setting. But when writing science fiction all writers need to pay attention to what’s really changing and happening now, if they want their writing to catch our imaginations and stand the test of time.
Watching ALIENS again after twenty years (it’s actually over 30 years old, but I was 4 then), I’m seeing all kinds of things that now look quite dated – the opposite of futuristic. Despite the fact I’ve always thought this was one of the most powerful films I’ve ever seen, and that it’s still a touchstone for screenwriting theories. The experience brought home something I’ve been saying for a while: that nothing dates faster than the future. As writers, the same things that make it such an attractive subject can also leave our works quickly stranded.
There are plenty of trends we need to recognize, if we want to write science fiction or show the present in a way that’s, well, future-proof. You’d be amazed how many ‘futuristic’ scripts we receive that feel outdated now, never mind soon. Even worse are the ones set so near in the future that by the time the film would make it to cinemas (a minimum of 18 months, realistically, for any mainstream production) they’d already be almost backdated. So much for making a long-term profit thanks to the ‘long tail’ life of DVD/Blu-Ray sales, TV screenings or streaming. And here’s what’s even worse – lots of the scripts we receive don’t even seem up-to-date now, never mind for a release date two years from now and a ‘long tail’.
What will the future look like, even ten years from now? We won’t know until it hits us. A lot of what happens now in the news feels like a surprise at the time – 9/11, Trump, Brexit etc – but wouldn’t be if we all had our ears to the ground more and faced up to reality a bit more honestly. These articles aim to help writers do that, to avoid getting left behind by reality, it’s only human nature to not want to face uncomfortable truths. Wherever possible I try to take a fully inclusive view and avoid bias, but hey, I’m only human – and not everybody will want to agree with the picture painted here, and that’s an important thing to reflect in your writing too.
Many future-proofing issues for writers aren’t so much about machines, technology and other advances – they’re about what people will be like in the times ahead. Writers should keep an ear out for changes and subtle long-term trends in all aspects of life – just to reflect the world as it already is, in fresh ways. That’s true even if you don’t have any need to envisage the future within your writing. After all, a huge part of making your writing sellable is about tapping into something that’s both fresh and convincing. All writers should listen out for changes that will influence our futures – because even historical or fantasy stories still have to anticipate what we’re about to become interested in, and our unconscious desires for the kinds of world we’d like our imaginations to occupy (to escape our dull realities).
A lot of the things that still bug me about future-writing are the same things that bugged me about sci-fi TV shows and films when I was a teenager, which inspired a lot of my own best writing. I studied science hard and tried to push whatever technology I included towards the absolute limits of what might eventually be possible within the laws of physics – but no further. In contrast, most future-writing doesn’t pay much attention to facts. It’s far more interested in creating a dream – or a nightmare. And that’s fine too, as long as it can convince us.
Science is much abused by the fiction that takes its name. I prefer the Italian word fantascienza – a dream or a fantasy of science. Because that’s what most sci-fi really gives us. When writing science fiction, the writers start with a dream of what a future (or alternate reality) could be like, and explore that vision rather than anything that corresponds to science or realism. Then they dress it up with silly science-lite technobabble to make it sound more plausible. While pretending that, for example, we can fly faster than light, and arrive at distant stars in a couple of minutes, rather than the many years it would do even then. (Our bored imaginations are yearning for space to become an intensive and exciting place, rather than the overwhelmingly vast, empty, and almost action-free reality revealed by astronomy.) Relativity has implied – for 100 years now! – that flying faster than light might mean travelling back in time anyway, even if it were possible to put more than 100% of the energy contained in our mass into propelling ourselves forward to make that possible. Ridiculous, and impossible, but STAR TREK and other franchises take this as their premise. Meanwhile, other SF has relied on parallel universes, or controllable ‘wormhole’ portals instead – both ideas that badly distort an obscure scientific speculation in order to imagine the kind of exciting universe we’d much prefer to the reality. But most sci-fi would be very dull and empty if we couldn’t let our imaginations fly away from reality. If we’re honest, that’s the main point of the genre. Scientific realism and caution is usually the opposite of what writers and audiences go to sci-fi for. We yearn for a flight of fancy, not a cautious science lecture. We want the ‘What if’, not the ‘but really’!
NEXT UP – ALIENS AND OTHER DATED VISIONS OF THE DISTANT FUTURE…
© WriteMovies 2017. Exclusive to WriteMovies – To syndicate this content for your own publication, contact ian (at) writemovies dot-com.
We are proud to be able to announce MARIGOLD by Lisa J. Cristoforo as the winner of our Featured Script of the Month for scripts submitted in January and February 2017.
We chose to couple the months of January and February together as the Spring 2017 Screenwriting Contest only launched very late in February. So, we didn’t get enough entrants in that month to warrant two contests. We’ll be back to normal for March, though! (more…)
We are proud to be able to announce GAMERS by Travis Lemke as the winner of our Featured Script of the Month for scripts submitted in December 2016.
Writers need to feel this connection to these characters too – it is only through your characters that audiences can connect with your story and theme.
“Writers need to feel this connection to these characters too – it is only through your characters that audiences can connect with your story and theme.” – The follow up article to “Insights: Character Driven Storytelling” by Ian Kennedy, WriteMovies Director of World Wide Development. (more…)
Insights: Character Driven Storytelling – why it has to be your characters who are driving your story forward
Writing Insights: Character Driven Storytelling – your characters, your protagonists, your antagonists, are the ones who need to drive your story
“The antagonist needs to be a stronger driver of the plot than the protagonist in several ways – to provide a threat and complications for the protagonist, to create conflict and hence create an engaging story with high stakes…” By Ian Kennedy, WriteMovies Director of Worldwide Development.
Individual character motivations are often taken for granted by writers who think they have a well-executed plot – and these scripts are often marked by undistinctive characters who behave predictably (“this is what a hero would do”, “we need her to say this for the sake of the plot”). But it is usually due to the characters’ own drive and commitment to the story that the plot actually involves us and works. Character-driven storytelling is an important part of making a connection with the audience: if it’s not the characters themselves who are driving the story forward at every point, the story feels fake and forced and artificial.