“The chilling true story of the S-Bahn Murderer.”
This book gets a strong rating of ☆☆☆☆ ☆☆☆☆, and is recommended particularly for amateur criminologists and fans of WWII history.
Scott Andrew Selby’s account of the S-Bahn Murderer is a fast read, a fascinating study in how the Nazi regime’s absolute control of the press and love of appearing all-powerful interfered with the most important criminal investigation of wartime Berlin. Continue reading
I’ve completed the first step in adapting my screenplay, In the Mouth of the Lion, to novel format. I took the simplest approach: converting the script into a text file, then removing sluglines, and so forth. In essence, I’m using the screenplay as an outline.
But why am I doing this? Continue reading
If I write when I’m tired, often the work isn’t my best. Still, there will be some useful sections at the end of the day, or at least a good start for the next, though I’ll have to do more rewriting than usual. [Pages have to be extremely bad before I’ll discard them. Sometimes, lurking in the thought processes that led to them, there’s Continue reading
Posted in the human condition, writing
Tagged computers, creation, decisions, imagination, novel, plays, screenplays, teaching, words, writing
I’m changing gears here to talk about my earlier screenplay, In the Mouth of the Lion. My readers reported back several weeks ago. Based on their combined comments, I have quite a bit of work to do, a total of about 150 marks to resolve. This is now the longest punchlist I’ve ever worked with for a fiction project, 10 pages, compared to Continue reading
I’ve noted that as a screenplay, the events in Temple of Isis become more shocking. I’m a bit worried that although I have made the story understandable to modern audiences, it has added shock value due to the immediacy of film.
My approach will be to make the entire script a lot darker, particularly the opening. The events and their ultimate resolution will thus not be unexpected, based on the tone of the first scenes. Whether I can retain enough positivity to hold the audience remains to be seen.
In case you’ve not already been taught this, it’s considered mandatory that your hero have a flaw, something for him/her to overcome, something to provide an inner journey while shooting up the world with an AK-47 on the outer levels, something to make the reader identify with him/her: “Hey, this character is Continue reading
The play has been converted to a Final Draft document.
I now need to clean up the formatting, convert narrator lines back to action, and prepare character studies. At this point, I’m not sure who the screenplay version protagonist is!
The big question is whether this will resonate with modern audiences. I’ll have to get some readers to give me their impression of a synopsis and the first ten pages. Anyone interested?