Whats More Painful Kidney Stones Or Gall Stones

Hi, I'm trying to write a script for a detective. Despite having written a TV script of this kind, I realize that I have difficulty dealing with this type of plot.

There are times I get lost in the maze of my own story, and others who fear being too simple. "I can recommend some reading to me the key to make my story better built and more convincing? And I do not mean that no one gives me a "formula" but the principles to take into account these kinds of stories.

Well, nothing more, and thanks for your time.

C.

Hello, C., although I am not an expert thriller, when he is consulting the mailroom spacious Bloguionistas, I jumped. The Pianist, was loading his weapon cut out to go to take one of their tours of punishment for the city, Chico Santamano going over video with the highlights of Big Brother ... so rather quickly, I took his dismissal to steal your card and bring it to me home to answer. why I wanted to respond?

Because I've been there.

few years ago, had just written a long script for a producer, who was quite pleased. It was a love story. I asked in this informal producers, who believe that a writer always carries a bag full of ideas, if he had "something" for a TV movie. The truth was yes. For once he was ready for that question. A few months earlier a roommate, editor of events in a local radio had told me some gruesome incident and had begun to document on the subject. I do not know how but ... I could write a treatment inspired by this true story that appealed to both the producer TVs and involved, suddenly, the project ceased to be a TV movie and became a movie. So far, except for a small detail, irrelevant here, that the producer was not exemplary in the matter of payments, everything looks like a wonderful story of professional success. What happened then? What I found, myself, trying to write a film script based on that treatment is not overly detailed.

Not to be overly dramatic, I would say it was simply horrible, terrible, apocalyptic. The story was beyond me everywhere. Trying to tie up the ends and they were unleashed on the other side. I came to believe that I broke his head. Worse still, I thought I could never write that.

guess, more or less, you're there, C. This feeling has happened to me just working on thriller. I have written comedies, dramas, stories with fantastic elements, I am preparing a musical about several accounts of The Hollister ... but only one thriller writing I felt like a crippled child swimming in a sea full of sharks. It is a personal impression, but I think there is something in this genre that makes it particularly difficult. At least in my experience, gender clearly write something fantastic is less complicated. A ghost story, for example, once defined the ways in which these supernatural manifestations take place, it gives a clear framework of what is permissible or not in the movie. I think the thriller, however, makes the writer constantly arises whether the public will "believe" or not history. The same applies to the author, which are usually periods of crisis because he does not believe that people are killed by a "Subject to Change the World" (which obviously is just a McGuffin) or do not know how to prevent the protagonist go at once to the police station and place, once all this mess in the hands of professionals. One can get to be very strict about the likelihood (and this can block) or too lenient (and your script can be sequences that are capricious and, therefore, uninteresting). Writing a thriller

you are forced to "close doors", eliminating options that any normal person would, to lead your character through a series of tense situations unstoppable as any ordinary human being would try to avoid. In a sense, I would say that gender is more "cheat" or, to put it less hurtful, perhaps the genre in which the writer must use all tricks. Even in the classics of the genre may find some defensible logical leaps. In my case, I think I had run out of tricks to complete enough that script. What did I do then? I called a friend.

asked him to write me the script. Fortunately, besides being a friend, was a great writer now devoted almost exclusively to the novel. Should be a car mechanic friend perhaps things had not gone so well. What was torture alone became a hilarious series of breakfasts at the Fuencarral VIPs in which, moreover, our script progressed considerably.

Together we wrote our final version (but then, the director, without us, made a last), which were quite satisfied. We charge late, but well,

film was made, with minimal budget and released in Zabaltegi and then had a brief and discreet business career. But that's another story.

Andre

Jute (which, incidentally, is dedicated to writing novels of this genre, specifically no dashes) but I recommended it with enthusiasm. A

Amazon search yields few results, but neither seems to be little literature into a screenplay. Robert McKee, in his seminar on Gender devotes one day a thriller. I was watching in Lisbon and it was quite interesting. Announced a book dedicated to this genre but ... I see in your online store has not been published yet. books aside, another option is to see a few movies of a genre similar to yours and "inspiration" in them. After a certain degree of inspiration the case may cease to be moral. From another degree, will even be legal. But anyway, frequently, being aware or not, use an action seen in another movie and often no one notices. To adapt to another story, to changing circumstances, the action imitated is so camouflaged that no one would recognize him. However, I think, however useful, no books or lectures or movies can do that would function a collaborator. In my experience, writing a thriller is like making an armored car. Every little time you have to leave y. .. shoot what you just invent subjecting them to the test of credibility. You can do it alone, but I think some company is appreciated. Many times you need someone to listen to the proposals, critique and provide some possible solutions. And do it in real time, replicating what you just proposed. That does not make a book. A movie does not "inspiring." McKee does not even. understand that all we usually have a reluctance to draw upon another writer (for pride, laziness, desire for control over history and, especially, I fear, for the money, which will be available for distribution) but, least in my case, it was a decision that I have never regretted it and wanted to share with you. course, there are intermediate solutions between writing alone and co-write with another person: someone who makes use of "wall" listening from time to time your story, find a professional story editor (I can give you some names, if you need) , assault to different friends to read the successive versions of your work and help you decide whether to retain or not the scene where the band takes the Moldovans enriched uranium ... That's my advice, based on my experience but ... everyone finds the formulas that work for you. I wish you all the luck in the world. And I'd like you to tell us how and when you left the jam. Because there's no doubt of these messes always get out. A greeting and thanks for your query. UPDATE (day 2, 17.30) In the original post I made the mistake of identifying "police" with "thriller" and that this was the term used by C. in the subject line of your mail, but not in the message. Without being an expert on categories and genres, I would say that in general, a police usually included within the thriller. Otherwise, however, is not true (many thrillers that do not qualify as law enforcement. "With the North by Northwest," "The Fugitive" and many others). The original response was more designed for this type of thrillers in which the standpoint of researchers is seeking to clarify a mystery. police in the genre, however, the view is almost always on the researcher, whatever their condition. What drives the story is the investigation and determines the final resolution (successful or not) the case. As I pointed my friend and excellent writer JM Ruiz Córdoba, in the case of this type of frames (type whodunit) the first thing I usually think the writer is who committed the crime and how. In the case of the famous Roald Dahl story, the housewife killed her husband with a frozen leg of lamb and then offers to feed the police investigating the crime. Once you have this brilliant idea the rest of the work usually consists in covering the tracks, ie, by filling in the history of scapegoats, red herring and obstacles for the researcher to take 90 minutes to see what usually usually before their eyes.