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tallerdeescritores.com

cursos online de escritura creativa impartidos desde barcelona. servicios para el escritor.

dianapmorales.com

Diana P. Morales, el blog más prestigioso para los que quieren aprender a escribir novelas y relatos.

marketingonlineparaescritores.com

Ser un escritor emprendedor y montar tu propia empresa unipersonal para vivir de lo que escribes pasa por aprender marketing online ¿A qué esperas?

scrivener.es

¿Puedes usar una licencia de Scrivener en varios ordenadores? ¿Necesitas dos licencias distintas para Windows y Mac? Todo esto y mucho más contestado en este artículo.

writeabooktoday.com

we offer top-notch service that ranges from creating killer book proposals to writing, publishing, distributing, and publicizing your book nationwide.

reedwriteandcreate.com

Robin Allison Davis turned a cancer diagnosis into an inspiring memoir titled, Surviving Paris. On the eve of the book’s debut, she’s getting ready to share her story on both sides of the Atlantic.

beabrilliantwriter.com

Everyone who’s ever loved a dog knows what a unique blessing they are. But in the following four TRUE stories, you’ll meet dogs who take that up a notch:

creamundi.es

Creamundi es el lugar de encuentro y formación sobre guion. Te acompaño en tu camino como guionista. De la idea a la pantalla.

truby.com

I’m sure it seemed like a great idea at the time. Cross cut between a detective story where a guy digs into the seedy underbelly of Hollywood and the drama of a C-level movie star committing suicide. These are two very different genres that have the potential of getting to the dark side of the American Dream. Some of the greatest movies in film history deal with this theme. But it doesn’t work here. In fact, this story devolves. A quick look at why highlights how important it is to explore your premise thoroughly before you write your script. The first big structural mistake has to do with the detective line. This one doesn’t build its revelations, leading to the biggest reveal of all, who-dunnit. Building revelations are the main reason people go to see detective stories, so that’s a pretty big mistake. The detective in Hollywoodland goes through various scenarios. But about halfway through it becomes clear that his investigation is just one big stall. Without the rewards of ever-bigger reveals, the fuel runs out of the desire line. The result: the audience gets really pissed off. The second structural problem has to do with the second storyline: the drama concerns a person I don’t care about. This guy supposedly commits suicide because he can’t get any parts other than Superman. That’s a drag, no doubt, but Norma Desmond he ain’t. A drama about a personal tragedy has to start with a complex character who has great flaws but also has an heroic quality, even when he’s Willy Loman. The George Reeves character is bland, with little talent. He doesn’t have great flaws. He doesn’t have great strengths. Without a complex character to start with, the drama can’t build as it explores the deeper issue at the hero’s core. So again, the story becomes less, not more, interesting as it proceeds. You can’t make a bigger mistake than that. The third cause of failure has to do with the requirements and expectations of a cross-cut structure. When you do a cross-cut over the course

rocknovels.com

每個創作者都會想要提升文筆，但經過一段時間就會發現提升文筆實在太虛無飄渺，於是就會安慰自己，其實文句淺白也是有 […]