<?xml version="1.0" encoding="UTF-8"?><!-- generator="WordPress/abc" -->
<rss version="0.92">
<channel>
	<title>The Story Department</title>
	<link>http://thestorydepartment.com.au</link>
	<description>Create Stories to be Seen</description>
	<lastBuildDate>Sun, 14 Mar 2010 05:48:46 +0000</lastBuildDate>
	<docs>http://backend.userland.com/rss092</docs>
	<language>en</language>
	
	<item>
		<title>Best o/t Web 14 Mar 10</title>
		<description><![CDATA[:: Black on action (via Scott Myers).
:: Christopher Nolan on what to expect from Batman 3
:: How to logline a dual plot story? John August helps.
:: Dick happy about Blade Runner (via Kottke).
:: Final word on the Oscars (and Karel agrees)
:: The North By Northwest shooting script for download
:: Charlie (and Donald) Kaufman&#8217;s Adaptation script
:: (we [...]]]></description>
		<link>http://thestorydepartment.com.au/best-ot-web-14-mar-10-8/</link>
			</item>
	<item>
		<title>How, Not If</title>
		<description><![CDATA[I play games like I once used to read novels. There exists a pile and as I finish each game (taking a number of weeks and occasionally months each) I move immediately onto the next, working my way through the continually replenishing stack.
FINISH?
It seems significant that I would use the word &#8216;Finish’ in regard to [...]]]></description>
		<link>http://thestorydepartment.com.au/how-not-if/</link>
			</item>
	<item>
		<title>You Can Write a Movie</title>
		<description><![CDATA[“You Can Write a Movie” by Pamela Wallace
Writers Digest Books, Cincinnati, Ohio.  2000.
118 pages.  ISBN 0-89879-974-0  Amazon Price:  US $4.35
THE AUTHOR
In 1986 “Witness” won the Academy Award for the best Original Screenplay.  It also won awards from the Mystery Writers of America and the Writers Guild of America and was [...]]]></description>
		<link>http://thestorydepartment.com.au/you-can-write-a-movie/</link>
			</item>
	<item>
		<title>Introducing Names</title>
		<description><![CDATA[When I re-watched the pilot episodes of LOST, it struck me how late the main characters&#8217; names are introduced.
And it works so well. By the time we hear the names mentioned, we are already wondering about them.
First we see the stranded group realize their situation, dumbfounded. Then they start interacting and some characters clearly take [...]]]></description>
		<link>http://thestorydepartment.com.au/introducing-character-names/</link>
			</item>
	<item>
		<title>Trust the Reader</title>
		<description><![CDATA[I want to say a word on trusting the reader.
An inevitable sign of growth in a new writer &#8211; and we all go through this arc &#8211; is in the area of trusting the reader.
Newbies who haven&#8217;t developed the discipline of trusting the reader tend to over-explain simple things in the action lines or they over-explain [...]]]></description>
		<link>http://thestorydepartment.com.au/trust-the-reader/</link>
			</item>
	<item>
		<title>What just happened??</title>
		<description><![CDATA[I have seen The Hurt Locker and I enjoyed it.
But I don&#8217;t get the hype.
Is this a memorable movie?
Is it memorable for the right reasons?
I&#8217;d love to hear your comments.
I have serious doubts whether most people who voted for the Best Original Screenplay actually did read it. It may be a truly gripping movie, I [...]]]></description>
		<link>http://thestorydepartment.com.au/what-just-happened/</link>
			</item>
	<item>
		<title>Best o/t Web 7 Mar 10</title>
		<description><![CDATA[:: How to logline a script with multiple plots.
:: Persistence in your scene-writing: imagining your story in its own world.
:: What screenwriter Michael C. Martin of &#8220;Brooklyn&#8217;s Finest&#8221; has to say.
:: What we can learn for screenwriting from the craft of acting.
:: Writer Helen Dunmore&#8217;s nine rules for writing fiction.
:: James Cameron talks about the [...]]]></description>
		<link>http://thestorydepartment.com.au/best-ot-web-7-march-2010/</link>
			</item>
	<item>
		<title>Formatting Scripts To Sell</title>
		<description><![CDATA[The point of every script is to be made into a film &#8211; obviously.
Yet why do so some great stories never make it to the screen?
Christopher Riley gives us some advice on how to take the final hurdle to becoming a working screenwriter.
Before a film or television script can fulfill its destiny in front of [...]]]></description>
		<link>http://thestorydepartment.com.au/formatting-scripts-to-sell/</link>
			</item>
	<item>
		<title>Writing Drama</title>
		<description><![CDATA[“Writing Drama:  A Comprehensive Guide for Playwrights and Scriptwriters” by Yves Lavandier. Translated from the French by Bernard Besserglik.  Le Clown &#38; l’Enfant, France. 2005  595 pages.
ISBN 2-910606-04-X  Amazon Price:  US $159.96
THE AUTHOR
Yves Lavandier took a degree in Civil Engineering, then studied film at Columbia University, New York, between 1983 [...]]]></description>
		<link>http://thestorydepartment.com.au/reviewed-writing-drama/</link>
			</item>
	<item>
		<title>Script Check: DAY / NIGHT</title>
		<description><![CDATA[Many newbie screenwriters use times of day other than DAY or NIGHT in their scene headings.
It looks unprofessional.
DUSK and DAWN are not used in spec scripts by beginning screenwriters unless the kiss by sunset is essential to understanding the story. Filming exteriors with this light is just too expensive because the window of opportunity is [...]]]></description>
		<link>http://thestorydepartment.com.au/script-check-day-night/</link>
			</item>
</channel>
</rss>
