Writer of novelnovelist
Writers and the Ascent of the Novel
Bubblicious, (Oxford: Clarendon Press, 1992), pp. 7-30, 153-95. Elíza Haywood', 11 (1998), 79-100;, edited by Kirsten T. Saxton and Rebecca P. Bocchicchio (Lexington: University Press of Kentucky, 2000), pp. 300-26; Sarah Prescott," (Basingstoke: Palgrave, 2003). Oxford: Clarendon Press, 1974, p. 149.
Willam B. Warner, (Berkeley : University of California Press, 1998), S. 147, 197. liza Haywood, (London, 1723), p. 11. University of Otago Press, 2001), S. 90. Foreword by Samuel Richardson to Penelope Aubin, (London, 1739), p. 2, 3. Ed. by Jerry C. Beasley (Lexington: University Press of Kentucky, 1999), pp. 116-17.
liza Haywood, (London, 1724), p. 7. 18. Aubin Penelope, (London, 1723), pp. 8-10. Martha Bowden (Lexington: University Press of Kentucky, 1999), p. 165. Élizabeth Rowe, (London, 1728), pp. 15, 7-8. Ilizabeth Rowe, 3 volumes, 2. ed (London, 1733-34), I, 148. Edited by Douglas Brooks-Davies and Martin Battestin, Henry Fielding, reworked and launched by Thomas Keymer (Oxford: Oxford University Press 1999), p. 22.
Ed. by Catherine Ingrassia (Peterborough, Ontario: Broadview, 2004), pp. 54, 114-15. Ed. by Christine Blouch (Peterborough, Ontario: Broadview, 1998), p. 32, 37.
Scripts vs. novels: Tough love guide for authors
Although this paper can be valued by all authors and directors, it is of particular interest to authors and storytellers who are trying to determine where best to use their creativity and talent - the novel or the script. I begin with some general observation about the author and the filmmaker (a new concept I coined to describe the real primordial creator of a film) and then describe the resemblance and difference between a novel and a script.
It is the author who recreates and depicts everything that comes into the novel - the character, the emotion of the character, their action, their thoughts, the story, the costume, the atmosphere, the environment, and so on. Many of the early writers and filmmoguls were like novel writers because they were the main creators (filmmakers) who had the task of doing everything that was to become part of the fic.
They didn't have enough to do everything themselves, so they had to engage others to make the outfits, sketch and construct the stage designs, play the roles, control the cameras, control the actions, make the visuals and so on - all things that novel writers would do alone.
Any other discipline, as well as authors and producers, must contact them. What we know today as a scriptwriter became one of the many roles that ministered to the interests and needs of the original creator, the filmmaker, the one who really made the original film.
As I see it, the author and the author are equal and have similar levels of creativity, except that the author is a one-man book that does everything itself, while the author is delegated many tasks to others, is generally more social and can cope with much more workload.
In this sense, a script is a multifaceted, collaboration art work led by someone else, with many dialogues, plot description (which is split into sequences and shots), scarce description of the actors and their emotion, places, angle of cameras, costume, and so on.
Ultimately, the outcome is the viewing of a movie or feature length cinematic. In this sense, the author is a primarily artistic performer who turns imagined or artfully handled real histories into a fictionalised narrative of different length from the novel to the epos and beyond.
As a rule, a movie is somewhere near two longhrs. By the way, the novel is also a graphic media, only that the writer helps the readers with words to recreate the graphic pictures in their heads. However, the novel and the script have one very important thing in common. No.
And in fact, the script can be an outstanding first sketch for a novel. This script is much less time-consuming and you can test the character and the texture. When it works as a script, you can turn it into a novel by shifting the tenses from the present to the past and add everything else that is added and described by the cameras, performers, costume and stage designer, as well as your particular craftsmanship and the basic psyche of the figures.
A scriptwriter is definitely not the main imaginative performer on a movie (unless he is also permitted to directed, produced and executed) - and often they are not even permitted on the sets. It' the producer who chooses what happens on screen, which is far more important. Well, the actor's doing just about her own thing, at least as far as the writer's go.
So, the scenario, which includes a scriptwriting by William Shakespeare, is just a proposal to the higher-ups. With other words, you can end up being the first of many authors and living to see your screenwriting entirely altered and perhaps even entirely wrecked. On the other side, the writer, who is a primarily artistic creator, does not have these issues.
There are also many other specialty market for fiction writers. There is no need to type to please a general public or a professional who thinks that you should type to men between 18 and 25 years or women between 12 and 22 years. Anyway, if you as a novel writer save pen and piece of papers or get on your computer to compose a novel, you already have the cash, so to say.
You' re the manager of the studios, the filmmaker, the filmmaker, the main resource. They make all choices and do everything themselves down to the last detail, inclusive of all lead. When you' re done, the completed novel is a completed work of work. To have a complete novel under your arms looking for a publishers is the equivalence of a complete movie under your arms looking for a distributors.
If you can present yourself in a reliable way and if you can send a good search request, you can address many publishing houses without an agency.
And for the new author, the top frahlings in Hollywood are very difficult, if not even inconceivable. Briefly, there are many thick coats of opposition and barriers between you and your script that actually become a picture. Comparing the potentials that an author can make of his successful novel or his best-selling novel is not a contradiction.
Sometimes a script author gets high six-figure amounts or even a million dollar for his special script or as an author for a rental. Some authors got up to three million. In addition, he gets all the advantages of a film transaction anyway with much more favourable conditions than any special script author could have expected.
Because in reality, and this is another competition, there is a much greater possibility of self-portrayal in a novel than in a script. However, try to find out who has written the script without looking at the end closings - if it's not Charlie Kaufman or David Mamet, you'll have a really tough one.
So, I appreciate that the point of this essay is that these days, if you are a gifted and serious writer/story maker, and you are trying to choose whether to compose a novel or a script, you should seriously think about it. Indeed, if you really consider the pros and cons, you will probably come to the conclusion that it makes almost no point to create a special script if you don't have a good sales representative and a sound professional background.
A world-renowned author and storyteller. Twice voted to the board of the Writers Guild of America, he has more than forty TV programs and featurewriters. At the age of 23 he got his first work as a freelance author and singer. He played the part of James Roosevelt in the Tony Award winner Broadway show Sunrise in Campobello.
He was recently awarded a Writer's Guild of America prize for his entry to the successful TV show Barney Miller. He has been educated in college classes around the globe and has a great influence on authors in all auctions.