Une carte anti writer’s block. Ecrire une histoire de jeu vid o : la difficile r alit. De simple expression électronique dans sa forme primitive, le jeu vidéo ne cesse, à mesure de son développement technologique, de grandir en ambitions narratives.
Les réussites récentes dans ce domaine sont nombreuses, avec de grosses productions aux allures de sagas, comme Metal Gear, Mass Effect ou Assassin's Creed, et des petites pépites surprenantes, capables de raconter des histoires avec toute la puissance immersive qu'offre le jeu vidéo, à l'instar de Brothers : a Tale of Two Sons ou de la série The Walking Dead par Telltale Games. Cependant, le niveau de sophistication de la narration qu'offre le jeu vidéo semble bien souvent inférieur à celui que l'on peut trouver au cinéma ou dans la littérature, cantonnant encore le jeu vidéo à un rang d'art inférieur.
Quant au jeu vidéo abordé par la littérature fictionnelle, l'expérience est bien trop souvent maladroite pour que le peu d'ouvrages intéressants ne fassent pas figure d'exception. Andrew Stanton: The clues to a great story. How Seasoned Writers Get Battle Weary Readers to Read More Than Ten Pages of Their Specs. "Hey, First Time Writer, I can't wait to spend three hours of my weekend reading your unsolicited screenplay!
" said no one ever. There are two unspoken truths in Hollywood: 1) Managers, producers, studio executives, actors, directors, writers and even professors spend five days a week pushing their eyes through endless pages of 12 point Courier. From personal experience I can tell you we all look at the weekend read with the same enthusiasm that we had when our middle school English teachers assigned novels to read over spring break. 2) The industry is incentivised to say no.
For this reason, most readers I know secretly hope that the next script in the pile will suck so they'll be off the hook. So, how do seasoned writers like me get past battle scarred readers like me? What specific things make ROB THE READER pull the rip-cord? Many beginning screenwriters approach the 100 or so pages in front of them like a freshman padding a term paper. E.C.U. He looks back for a split second. Comment un lecteur professionnel analyse un scénario. Timeless Advice on Writing from Famous Authors. Les règles d’écriture de scénario du studio Pixar. Si l’on peut reprocher à l’écriture de scénario « à l’américaine » d’être parfois trop formatée et de manquer d’âme, notamment lorsque les films émanent de grands studios, il existe de merveilleux contre-exemples, à l’instar des productions Pixar.
Outre leur magie technologique, leurs films ont tous en commun l’excellence de leur écriture. Non seulement leurs structures sont irréprochables, mais leurs personnages sont extrêmement bien caractérisés. Leurs histoires sont pleine d’humour et d’émotion et véhiculent des thèmes universels, elles s’adressent à un public sans âge, bref, qu’un scénariste écrive pour le secteur de l’animation ou du cinéma live, il a beaucoup à apprendre des productions Pixar.
Découvrons quelques unes des règles d’écriture de cette géniale compagnie, voulez-vous? Elles ont été récemment communiquées par la story-boardeuse Emma Coats sur son compte Twitter. 1. 2. 3. 4. The Runner's Guide to Better Writing. Admit it.
You want to become the kind of writer who has the energy to turn up every day in front of the blank page and create. You’re looking for a way to focus on your current writing project without getting distracted. And you’d like to finish what you’re working on. If only there were something that would help you do all this… There is. It’s called running. 7 ways to beat procrastination. How To Cure (and Prevent) Writer's Block. Like a really bad cold, writer’s block prevents you from getting your work done, and you have to ride it out, probably in bed, watching TV and sniffling, until it’s over.
I went to a really teeny college with one big requirement: to graduate, we had to do a masters-like thesis. I studied writing and literature, and among other projects, I chose to write a novel. Thus, obtaining my BA hinged on my ability to, you know, actually write the novel. This was in addition to the usual demands of papers, papers, papers. Writer’s block was not an option, so when I felt the symptoms beginning—the boring sentences, the strange word that had no synonym, the plot hole with nothing to cover it—I had to react fast.
Similar to taking vitamin C to get over a cold, there are things you can do to fight writer’s block, and prevent recurrence. 1. 2. 5 Facts about Fear for Writers. Dumb Little Writing Tricks That Work. 5 Biggest Mistakes Screenwriters Make. Conflict vs Tension - WRITERS HELPING WRITERSWRITERS HELPING WRITERS. I’m in the middle of exploring a new story idea, which means I’m knee-deep in notes, questions, character interviews, and everything else that goes into the planning process.
As Jo March liked to say, “Genius is burning,” and I’m terrified to interrupt the process, lest it fizzle away and leave me whimpering. So today I’m reposting an oldie-but-a-goodie that I hope will spark some new ideas for you all. I’ve had a writing epiphany that I’m DYING to share with people who won’t stare blankly at me while I talk and smile politely when I’m done. Lucky all of you. One of my critiquers recently said something that made me think.
No tension? Well, after chewing on this for awhile, I came to realize that I was confusing tension with conflict. Blake Snyder (Save The Cat) defines CONFLICT like this: a character enters a scene with a goal and standing in the way is an obstacle. TENSION in literature is important because it evokes emotion in the reader. How are the two related? 1. 2. 3.