Thursday, July 5, 2012

REMEMBERING NORA EPHRON: BEFORE ALL THE HOLLYWOOD SUCCESS



Nora Ephron died at 71.
In her career, she worked as a journalist before reinventing the modern romantic comedy (Sleepless in Seattle, When Harry Met Sally) while writing everything from novels and essays to stage plays.
WD is saddened by her passing, and our thoughts go out to her sister Hallie (who we have worked with over the years) and the rest of the Ephron family.
Here, in Nora’s honor, are some of her words from an interview we did way back in 1974—when she was 32 and a successful freelancer, before all the Hollywood success that was to come.
Here’s how writer Rex Reed described her work back then: “Great, chunky spoonfuls served in tasty style by a fresh, inventive observer who stalks the phonies and cherubs alike, sniffing them out like a hungry tiger, clamping her pretty teeth down in all spots where it hurts the most, then leaving all of her victims better off than they were before they met Nora Ephron.”
 *
“Well, it’s just that my point of view happens to be faintly cynical or humorous—and just the way I see things and that’s how it comes out when I write it.
“You better make them care about what you think. It had better be quirky or perverse or thoughtful enough so that you hit some chord in them. Otherwise it doesn’t work. I mean we’ve all read pieces where we thought, Oh, who gives a damn.”
When asked about writer’s block, and what happens when she’s completely cold and stuck on a piece—
“I am never completely cold. I don’t have writer’s block really. I do have times when I can’t get the lead and that is the only part of the story which I have serious trouble with. I don’t write a word of the article until I have the lead. It just sets the whole tone—the whole point of view. I know exactly where I am going as soon as I have the lead. … But as for being cold—as a newspaper reporter you learn that no one tolerates you if you are cold. It’s one thing you are not allowed to be. It’s not professional. You have to turn the story in. There is no room for the artist.”
“I think that readers believe that a writer becomes friends with the people he interviews and writes about—and I think there are some writers who do that—but that hasn’t happened to me. I do think it’s dangerous because then you write the article to please them, which is a terrible error.”
When asked about her writing routine—
“I don’t have much of a routine. I go through periods where I work a great deal at all hours of the day whenever I am around a typewriter, and then I go through spells where I don’t do anything. I just sort of have lunch—all day. I never have been able to stick to a schedule. I work when there is something due or when I am really excited about a piece.”
When asked what her main distraction was—
“Life. I mean the main thing that distracts me is the pressure to go on with one’s life. That you have to stop to have lunch with someone or you have to take the cat to the vet …”
Her advice to young writers—
“First of all, whatever you do, work in a field that has something to do with writing or publishing. So you will be exposed to what people are writing about and how they are writing, and as important, so you will be exposed to people in the business who will get to know you and will call on you if they are looking for someone for a job.
“Secondly, you have to write. And if you don’t have a job doing it, then you have to sit at home doing it.”
*Special thanks to Dylan McCartney for his help on this post.
Zachary Petit is an award-winning journalist, the managing editor of Writer’s Digest magazine, and the co-author of A Year of Writing Prompts: 366 Story Ideas for Honing Your Craft and Eliminating Writer’s Block.







Go forward and win!


Logline Service
I have been getting a lot of request for loglines. I give different prices . Since I have so many requests for this service, I decided to set a single fix price.

Logline: $5.00 Flat Fee

A synopsis or summery is required. It well be used to form the logline. The logline is just one line.




Screenplays

Critique: $50.00 Flat Fee, Discount fee $42.50
 Includes evaluating the basis elements of a script

  •  Introduction
  •  Development
  •  Climax
  •  Conclusion
  • Character development 
  •  Mid point development
Critiques also provide suggestions for improvements and enhancement. 

Payments are made by Paypal or cashier check by mail.


Other services are at regular price.

Query Letters: $25.00 Flat Fee  

Editing: $45.00 Flat Fee
  •  Evaluating formatting to industry standards
  •  Spelling, grammar, punctuation, sentence structure, etc.
Turnaround time:
Editing: 2 weeks
Critique: 2 weeks
Query Letters: 2 weeks

Feel free to contact me at ahicks4298@q.com or ahicks4298@msn.com.
Feel to call me at (360) 696-4298. Ask for Frances.


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Film script format, writing film scripts, screenwriting services, coverage service, screenplay formatting margins, screenplay writing, screenplay format example, Search terms: screenplays, screenwriting service, edit and critique service, writing screenplays, screenplay format, loglines, query letter, film scripts, movie scripts, screenplay format, screenplay synopsis, script synopsis, treatment, proofreading service for writers, novels, writing services, fiction writing, film script format, writing flim scripts, screenwriting service, coverage service, screenplay critique service, screenplay format margins, screenplay writing, screenplay format example, free writing tutorials,   script consultant, screenwriting jobs, film production companies

THE 13 TRICKIEST GRAMMAR HANG-UPS


I like this picture. It's so carefree.

I trust that you all know the difference between who and whom, and I trust that typos are the only reason you use the wrong it’s. It happens to the best of us. For most writers, if you can just maintain your focus (perhaps with caffeine and frequent breaks), you’ll get the basics right. The following problems, however, may have you scrambling for a refresher.

1. Half can be both singular and plural.

Typically, subjects and verbs agree: If the subject is singular, the verb is singular. If the subject is plural, the verb is plural. Easy peasy. However, sentences that start with half don’t follow this rule.
Half alone is singular: My half of the pizza is pepperoni. Yet although half is the subject in a sentence such asHalf of the pizzas are missing, we use a plural verb because of something called notional agreement. It simply means that although half is singular, half of the pizzas has a notion of being plural, so you use a plural verb. Follow this rule when half is the subject of a sentence: If half is followed by a singular noun, use a singular verb. Ifhalf is followed by a plural noun, use a plural verb. Half of the pepperoni is ruined, but half of the tomatoes are missing.
Compound words that start with half are quirky too. They can be open, closed or hyphenated (e.g., half note,halfhearted, half-baked). There’s no rule that applies across the board, so you’ll have to check a dictionary.

2. Companies are not exactly people.

Companies are entities, but they are run by men and women, so you could make an argument for referring to a company as who, particularly since U.S. courts have ruled that companies are people in most legal senses. Nevertheless, the standard style is to refer to a company as an entity and use the pronouns it and that: We want to buy stock in a company that makes hot air balloons.
If you want to highlight that people in the company are behind some action or decision, name them and use who:Floating Baskets was driven to bankruptcy by its senior directors, who took too many expensive Alaskan joyrides.

3. American is a flawed term.

American is the only single word we have to refer to citizens of the United States of America (U.S.-icans?), but technically, an American is anyone who lives in North America, Central America or South America.
In the U.S. we, the people, have been calling ourselves Americans since before our country was even founded (as have our detractors). Although all people of the American continents are actually Americans, most readers in the U.S. and Europe assume that an American is a U.S. citizen, since that is how the word is most commonly used.
Despite its failings, use American to refer to a citizen of the United States of America. No better term exists. Feel free to feel guilty.
Howl is the type of guy plain girls fall for.

4. The word dilemma can be, well, a dilemma.

The di- prefix in dilemma means “two” or “double,” which lends support to the idea that dilemma should be used only to describe a choice between two alternatives. The Associated Press Stylebook and Garner’s Modern American Usage not only support that limitation, but go further, saying that dilemma should be used only for a choice between two unpleasant options.
Nevertheless, Garner also notes that other uses are “ubiquitous.” Merriam-Webster’s Dictionary of English Usageand The Columbia Guide to Standard American English say it’s fine to use dilemma to describe any serious predicament, and The American Heritage Guide to Contemporary Usage and Style takes an intermediate position. What’s a writer to do? (Is it a dilemma?)
Unless you’re writing for a publication that requires you to follow a style guide that limits dilemma to a choice between two bad options, it’s not absolutely wrong to use dilemma to describe a difficult problem, even when alternatives aren’t involved, or to use dilemma to describe a difficult choice between pleasant options. Still, you’ll seem most clever when you use dilemma to describe a choice between two bad options. In other instances, before using dilemma, ask yourself if another word, such as problem, would work better.
Also, a cursory search of the Internet reveals that lots of people are confounded by the spelling of dilemma. Many were taught to spell it wrong. In fact, I was taught to spell it dilemna in school, and when I got older and checked a dictionary, I was shocked to find that the word is spelled dilemma. Further, the only correct spelling is dilemma. It’s not as if dilemna is a substandard variant or regional spelling. Dictionaries often note alternative spellings and sometimes even nonstandard spellings, but dilemna doesn’t even show up that way. As far as I can tell, nobody knows why so many teachers got it wrong. Perhaps a textbook typo is to blame.

5. Earth isn’t treated like the names of other planets.

In English, the general rule is that we capitalize the formal names of things and places (e.g., Golden Gate Bridge,San Francisco), so we capitalize the names of other planets: Jupiter, Mars and so on. For some unknown reason, however, we treat earth differently. Sometimes it’s capitalized and sometimes it’s lowercase, and there doesn’t seem to be a hard-and-fast rule.
Typically, when earth is proceeded by the, it’s lowercase, and when earth is listed with the names of the other planets, it’s capitalized—but you can find exceptions to even these patterns. (Of course, when we’re just usingearth as another word for dirt, it’s always lowercase.)
If you’re a writer, check your publication’s style guide to see what it recommends. If you’re writing for yourself, the most important thing is to be consistent—so just pick a capitalization style and stay with it.

6. Gone missing might be annoying, but it isn’t wrong.

Gone missing is a Briticism that has made its way to the U.S., where reporters use it mostly to describe missing persons. Although journalists and newscasters seem to love gone missing, it’s easy to find vocal readers and viewers who hate it.
Haters argue that a person must go to a location, and missing isn’t a place, and that an inanimate object can’t go missing because it can’t take action alone—but English has never been so literal. In a tight labor market, jobs can go begging (be unfilled), for example, even though begging is not a location and jobs can’t take action. Other peevers suggest that gone missing necessitates an action on the part of the person or item that has vanished. Again, we have parallels that undermine the argument: Milk goes bad, for example, without taking any action on its own.
Gone missing is not wrong. The Oxford English Dictionary places it in the same category as the phrase go native, as in, We had high hopes for our new senator, but after he was in Washington a few months, he went native (i.e., adopted the same habits and attitudes as people who’ve been there a long time).
Even if you hate gone missing, you can’t legitimately criticize it as grammatically incorrect. But on the flip side, if you’re a fan of the phrase, be aware that it annoys enough readers that you should think twice before using it in your writing.
7. Kinds is always plural.
You have one kind of peanut butter but three kinds of jelly. Use the singular (kind) when you have one of something, and the plural (kinds) when you have more. Since these and those indicate multiple things, you have to use a plural: kinds. These kinds of situations always perplex me. (These kind is wrong.)
Watch out for the problem. Even though it seems straightforward, good writers often get it wrong.

8. Until is ambiguous.

If you have until March 4 to submit an entry in the National Grammar Day video contest, does that mean you can still turn it in on March 4, or is March 3 the last acceptable day? Unfortunately, the word until doesn’t make the meaning clear. People can interpret it different ways.
One of the most stress-inducing deadlines is the annual tax filing cutoff for the Internal Revenue Service, which makes a point to specify that the April 15 filing deadline includes April 15. It also refers to April 15 as a due date, not a deadline.
If you’re following instructions, don’t assume until means through. Turn in your item a day early or get clarification. And if you’re writing instructions, make them clear by using a word such as through or stating a specific day and time. The IRS doesn’t rely on an ambiguous word such as until, and neither should you.
Some people are gun crazy. So don't criticize their writing.

9. Next is also ambiguous.

Just like until, next is ambiguous: Some people think next Wednesday means the next Wednesday that will occur, and other people think next Wednesday means the Wednesday in the next week, regardless of what day it is now. The sitcom Seinfeld even did a scene in which Jerry and Sid argued about the meaning of next Wednesday versus this Wednesday.
There is no definitive meaning for next Wednesday, so you should avoid using next to modify a day of the week. Be more specific in your writing.

10. The plurals of abbreviations aren’t always logical.

Acronyms are abbreviations that are pronounced as words (NASA), and initialisms are abbreviations for which you say each letter (FBI).
Even though it doesn’t make perfect sense, you make initialisms and acronyms plural by adding an s to the end no matter what part would be plural if you wrote out the whole thing. Therefore, even though you would write runs batted in, the plural is RBIs.
In the past, some publications used apostrophes to make acronyms and initialisms plural, so until a few years ago, it was common to see something like RBI’s or CD’s in The New York Times. But these days, the major style guides recommend omitting the apostrophe.

11. They and their may soon be acceptable singular pronouns.

English has a big, gaping hole: There’s no pronoun to describe a person when we don’t know the sex. (I’ve tried itwith babies, and it hasn’t gone over well!) In days gone by, he was acceptable as a generic pronoun, but today it’s not. All major style guides recommend against it.
To fill the gap, many people consciously or subconsciously use they, as in, Tell the next caller they win a car. Doing so is allowed by some current style guides and actually has a longer history than most people realize. Even Jane Austen did it. For example, here’s a quotation from Mansfield Park in which Austen pairs a plural pronoun (their) with a singular antecedent (each):
Everybody around her was gay and busy, prosperous and important; each had their object of interest, their part, their dress, their favourite scene, their friends and confederates: All were finding employment in consultations and comparisons, or diversion in the playful conceits they suggested.
Although many people consider using they as a singular pronoun wrong, I suspect many of those same people use it that way in casual conversation without even realizing it, and that the singular they will become fully acceptable within the next 50 years.
Today, using they as a singular pronoun borders on acceptable. You can choose to do it if you aren’t bound to follow a style guide that opposes it, but be prepared to defend yourself. The safer route (when you can’t           just rewrite the sentence to make the subject plural) is to use he or she, or to switch between he and she (which you may have noticed is the style followed by this very magazine).
When switching between he and she, however, make sure you separate the examples enough so that you don’t confuse your readers. (Weren’t we just talking about a woman?) Also, I’ve recently started getting complaints from men who’ve noticed that writers switching between he and she tend to use he for the bad guys and she for the heroes. If you’re going to switch back and forth, give us some vixen ax murderers and hunky human-rights activists every once in a while.

12. Possessives of possessives can get messy.

When you have to make a possessive name possessive, you’re technically supposed to add another possessive marker to the end:
Kohl’s’s earnings were up last quarter. (The Chicago Manual of Style possessive style)
Kohl’s’ earnings were up last quarter. (The Associated Press Stylebook possessive style)
Avoid these kinds of sentences, though. They may be technically correct, but they look horrible. You can usually rewrite the sentence to make it better:
Kohl’s reported higher earnings last quarter.

13. Apostrophes can occasionally signify plurals.

We all cringe when we see a greengrocer’s apostrophe (banana’s $0.99), but did you know that in a few uncommon instances, we do use apostrophes to make things plural? In most cases, the apostrophe helps avoid confusion; single letters are one example. The first apostrophe in Dot your i’s and cross your t’s helps readers distinguish between multiple copies of the letter i and the word is. A less logical example is the phrase do’s and don’ts. Different style guides recommend different spellings (dos and don’ts, do’s and don’ts, and do’s and don’t’s). When writers use an apostrophe to make do plural but not to make don’t plural, the only reason for the apostrophe is to provide visual balance. Yet, it’s allowed.


Go forward and win!




Logline Service
I have been getting a lot of request for loglines. I give different prices . Since I have so many requests for this service, I decided to set a single fix price.

Logline: $5.00 Flat Fee

A synopsis or summery is required. It well be used to form the logline. The logline is just one line.



Screenplays

Critique: $50.00 Flat Fee, Discount fee $42.50
 Includes evaluating the basis elements of a script

  •  Introduction
  •  Development
  •  Climax
  •  Conclusion
  • Character development 
  •  Mid point development
Critiques also provide suggestions for improvements and enhancement. 

Payments are made by Paypal or cashier check by mail.


Other services are at regular price.

Query Letters: $25.00 Flat Fee  

Editing: $45.00 Flat Fee
  •  Evaluating formatting to industry standards
  •  Spelling, grammar, punctuation, sentence structure, etc.
Turnaround time:
Editing: 2 weeks
Critique: 2 weeks
Query Letters: 2 weeks

Feel free to contact me at ahicks4298@q.com or ahicks4298@msn.com.
Feel to call me at (360) 696-4298. Ask for Frances.


************************************************************************************
Film script format, writing film scripts, screenwriting services, coverage service, screenplay formatting margins, screenplay writing, screenplay format example, Search terms: screenplays, screenwriting service, edit and critique service, writing screenplays, screenplay format, loglines, query letter, film scripts, movie scripts, screenplay format, screenplay synopsis, script synopsis, treatment, proofreading service for writers, novels, writing services, fiction writing, film script format, writing flim scripts, screenwriting service, coverage service, screenplay critique service, screenplay format margins, screenplay writing, screenplay format example, free writing tutorials,   script consultant, screenwriting jobs, film production companies

Friday, June 22, 2012

Writer's Digest Tutorials


WRITER'S DIGESTWriters DigestTUTORIALS
For ahicks4298@q.comJune 22, 2012
In This Issue
From the Editor
Editing our own writing isn't always easy; in fact, it can be extremely hard. However, after working on this week's new tutorial—I can honestly tell you that I have a new inspiration for editing. I love this week's featured tutorial as it provides concrete, easy-to-follow methods that are sure to improve your writing.

It's critical that your writing is the best it can be before you submit to any editor or agent. After watching to How to Become a Ferocious Self-Editor, you will have countless ideas on how to better your own writing.  


Example: He squinted his eyes as he looked up into the sky. 

Ask yourself: What can be taken out of this sentence? 

Answer: First, what else but his eyes would he squint? Second, we all know the sky is up, why state that? 

Quick re-write: He squinted as he looked into the sky.  


At the very least, please make time to watch the short preview clip of today's featured tutorial. You are sure to pick up tips by merely watching the preview—and you'll gain a vast amount of knowledge by watching the entire tutorial. Remember that with tutorials, you can watch on your own time—when it's convenience for you. You can also pause and replay as many times as you'd like. I'd highly recommend taking out a WD Tutorials membership if you haven't already. Please also feel free to preview the many tutorials available to you through the WD Tutorials site!  

Wishing you only the best!
Julie Oblander
Online Education Manager
Writer's Digest Tutorials

Featured Tutorial: How to Become a Ferocious Self-Editor
Even though the vehicles that carry your writing to the market are changing every minute—whether you're Tweeting, blogging, submitting to online/print publications, pitching conventional publishers or planning to self-publish—the cream still rises to the top. Your writing has to be edited and rewritten until it shines.

The competition has never been tougher, and that's why it's important your work is vigorously self-edited and revised before you ever submit to editors or agents. Learning to edit and rewrite your own text is more crucial than ever. 

This tutorial will give you the tools to fashion your writing to where it's a cut above the competition. You'll see, with examples of pages on screen, how to wrestle every sentence into submission. 

Instructor Jerry B. Jenkins is a New York Times best-selling novelist and biographer with more than 70 million books sold. He is the co-creator of the Left Behind series. His writing has appeared in Time, Reader's Digest, Parade, Guideposts, and many other periodicals. He has been featured on the cover of Newsweek and Writer's Digest. 

In this 84-minute tutorial video, you'll learn:
  • How to make every word count 
  • Secrets of dialogue attribution, including the latest trends 
  • How to avoid clichés, including more than words or phrases—catching hackneyed situations and scenes 
  • How to avoid throat-clearing and get quickly to your point 
  • The importance of maintaining a single point of view 
  • How to resist the urge to explain, giving the reader credit 
  • How to make your writing irresistible to an editor
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Live Webinar | Writing the Breakout Teen Novel
There's still time to register and attend! 
Session date: Thursday, June 21, 2012
Starting time: 1:00 p.m. EDT
Duration: 90 minutes 

Anyone can tell you that the YA (young adult) publishing industry is hot, with new debut authors getting deals each week. But with this market success comes more competition than ever. So what can you do to stand out? "Writing the Breakout Teen Novel" will give you a literary agent's insider insight to what's in, what's out, and what you can expect along the road to publication in this exciting and booming segment of the publishing marketplace.

From establishing a knowledge base of the category, to crafting that perfect concept and fine-tuning your voice, to researching smarter and refining your querying strategies, literary agent Holly Root will give you an agent's eye view of the current YA landscape—with plenty of straight talk about what's real, what's hype, and how to thrive in one of the most exciting areas of the publishing business. 

This webinar includes a critique from literary agent Holly Root! All registrants are invited to submit a one-page query letter for their novel. Take advantage of this rare opportunity to learn from and get your query letter in front of an agent!  

Learn More or Register Today >

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SURVEY - Your opinion is wanted and valued!
Your opinion is highly valued—and I truly mean that. If you would take a few minutes to complete a quick survey (it's only 10 questions long!), I would greatly appreciate it.

I will personally take the time to read each and every response and will take all into consideration. This survey will help me plan out future months of tutorials and newsletter content—and will allow me to bring you what YOU want to read and watch. 

This survey will let you provide input regarding the WD Tutorials Site and the WD Tutorials Newsletter. If you'd like to refer to the page where you can see ALL tutorials that are currently available, use this link: View All WD Tutorials > 

I sincerely thank you for taking the time to fill out the survey! 

~ Julie ~