The Woman in the Picture

I’ve been away from my little magic castle for a bit; I’ve been tending to some real-world problems, as well as allowing my body to get some much-needed rest.

1044516_588197914553618_117421842_nI logged into Facebook this morning and discovered, courtesy my friend and CineLadies founder Marisilda Garcia, this wonderful picture, which you now see on the left side of this paragraph. The picture – and the article translation found with it – tells the story of an indigenous woman of the Tarahumara. The woman is seen running in a half-marathon, which she not only won, but broke several records in the process, all of this without professional training, without athletic clothing – including running shoes – and without the endorsements of Nike, Mountain Dew, Monster, or whatever company is trying to get their brand stamped across every square inch of earth. She won it – and she won it on her own.

And now, for the awkward segue into how this picture relates to the entertainment business. People often speak of their careers as if they were a race. Everyone’s out to be the first, get the biggest headlines in Variety, sign the biggest deal ever, smash all box office records to smithereens.

However, your career is not a race, dear ladies and lords of the court. Your career is a marathon, and it’s one you run endlessly, hours into days, into weeks, into months, into years, and so on. You simply place one foot in front of the other, and so on, and so on. And you never stop.

Print out a picture of this woman, and hang it on your wall. Print out another picture, and put it in your purse, your wallet, your satchel – wherever you can always have it at hand. When those times hit – the holidays that seem so merry for everyone but you, the flood of shame that comes with a rejection letter, or that whisper of envy when someone you know hits it huge – do this one thing. Pull out the picture, look at the woman, and remember her story. How she broke all records, how she became an internet sensation, and how she, despite all odds, won that race… and remember that she was able to do all of this, because she didn’t stop.

Now, go write.

HRH, Princess Scribe


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Walking the Walk

For those of us who blog and write about the art and the craft of screenwriting, we spend a lot of time talking the talk.

Today, I’m going to begin a little experiment in walking the walk. And I’m inviting you to join me.

I am in the midst of creating one of two worlds that are in my newest untitled project.

Every few Princess Scribe posts this summer – and perhaps beyond – will contain bits of scripts that I am working on, the actual working text, visual ideas, roadblocks, character development… a little bit of everything, shared only with you, dear readers.

Of course, there will be a few twists and turns, and so, there is some that I will not share. Yet. But with those exceptions, I’ll be as transparent as possible in my progress.

Today, I’ve managed 4 cards worth of content for my board. The script is for a short project, about 15-20 minutes in length. SciFi meets SciFact. This is not the screenplay, it’s not even the brain dump draft. This is the beginning of a working outline, a series of cards that I hope will be able to become transform into the script, and the script into a film.

Today marks the creation of the first part of Opening Scene, in STC  language. The story opens with a dream…

Opening Image

What’s next?

Now, go write.

HRH, Princess Scribe


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My Writing Process: Blog Tour

Originally posted on Princess Scribe's Blog:

Today, I’m participating in the “My Writing Process” Blog Tour. It’s a sort of chain mail amongst scribes; the tour rolled out in January, and will conclude by next week.

I was invited to play by Henry Sheppard, aka the Adelaide Screenwriter. Henry’s tour commenced last week; he wrote with great eloquence about the publication of his novel Play the Devil , as well as writing for the screen, large and small.

Long story short, the blog tour asks its participants four questions about their writing process. I’ll turn my tour over to another writer, who will conclude this adventure in story, publishing her blog on June 15.


rabbit-hole1. What are you working on? I’m working on what is certainly the most challenging piece I have come up against. It’s a dark fantasy piece, set in the world of child abduction and sex-trafficking, a bit of a down-the-rabbit-hole…

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or, how having a catastrophic illness might save my life.

via Perspective.

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Good Intentions

Screenwriting connects us all; it levels the playing field.

Screenwriting connects us all; it levels the playing field. (c) Final Draft, Inc.

A few years ago, Final Draft, Inc. launched a campaign titled Why I Write. Established screenwriters – Simon Kinberg, Susannah Grant, Aaron Sorkin, and others, were invited to write a brief statement about what drove them to do the thing that they do – write for the screen. The responses, which appeared as rotating banners on the company website, ran the gamut from the humorous (“Because I wanted a job where I could wear pajamas”), to the poignant (“To keep my father’s voice alive”). One of my favorite campaigns was one that I worked on;  a member of Joey Travolta’s Inclusion Films Workshop was selected. He was a teenaged screenwriter who was developmentally disabled., and he wrote a beautiful testimonial to his craft. When Lynn brought the final proof out, I don’t believe there was a dry eye in the office, Why I Write was one of the most successful marketing campaigns that I had seen. It was honest. It was real. Note – Final Draft ran the campaign for many years on their website; unfortunately, they no longer seem to, and I am unable to find any of the quotes archived. A great tragedy – hey, Marc, why don’t you dust it off, and bring it out to share with the new generation of screenwriters? 9353_zmeinyj-polet_or_snakes-on-a-plane_1280x1024_www.GdeFon.ru_The campaign was a much-needed response to the emergence of The Great Spec Sale. Sometime during the early 90s, someone decided that story and character were of little importance to a screenplay’s merit – what was really important was the concept. Was the script “high-concept”? If you answered “yes”, then it went out on Monday, and the bidding wars began, By Thursday, an unknown writer was inking a deal for low to mid sixes, and Friday’s Variety was singing the story of another “overnight success” in Hollywood. And, oh, how the scripts poured in, a veritable tsunami of potty jokes and lo-brow humor. And the circus-like event formally known as  the screenplay development and sale went one step further. One day, executives decided that one didn’t even need a script to sell for a king’s ransom – the concept alone could “be” the sale. If the concept was high enough, one didn’t even need to write the script; the writer would develop the story and present it through a pitch. Writers would show up at CAA in a gorilla suit on Monday, and sling some bananas around. By Thursday would appear a six-figure deal…. and the script had not even been written. That’s not to say that all high-concept is bad or evil; scripts like DIE HARD, MR. AND MRS. SMITH, TRUE LIES, and HOME ALONE, among others, sprang forth from the high-concept glut, films that enjoyed both commercial and artistic success. High-concept was here to stay. But for every gem out there, there were hundreds of nuggets of fool’s gold hitting the market. Suddenly, everyone in Hollywood was a screenwriter. The problem was, the majority of these scribes had never written a script; they simply saw a screenplay as a shortcut to success and wealth, Character? That was for those little “indie” films. Story? Oh, don’t get so analytical, wasn’t it funny when he farted in the court? Countless wretched scripts were written, and some of them even made it to the screen. The screenplay had become the poor man’s genie’s bottle. Substance mattered little – how much can you get for it? That was what was important. alcohol-428392_640Eventually, audiences wised up, and stopped shelling out hard-earned dollars for crap. The spec market collapsed, and things like story and character became the focus of discussions again. Today, to achieve a sale, you really do need to write a good, solid script. And yet, the impact of those times still lingers, like the bad taste in your mouth after a night of binging on cheap cigars and even cheaper booze.


In truth, concept has been and always will be king. Movie-making is a business, and a very expensive one at that. Investors want to see a return, and a handsome one at that. And yet, at its heart, a film is a piece of art, which brings us back full circle to question what is it that drives you to engage in such a speculative craft? Why do you write?

Chimpanzee_seated_at_typewriterThere’s a great deal of polarization amongst screenwriters in regard to that question. On the left, you have writers who want to entertain – make ’em laugh, They’re not as obsessed with character, or hero’s journey – they simply want to be funny. Or try to be. They usually fail. On the right, you have the socially conscious snobs. These are the writers who are self-described rebels who insist that every script should address a socially important issue – global-warming, Roe v Wade, gun-control… if there is a topic out there, they’ll take it on. And, they believe the script should not only address a cause, it should actively instruct the audience about the cause, the script must “change the world” with its greatness. (Note – the scripts and writers I’m discussing are narrative form, not documentarians.) I believe that their intentions are sincere, that they truly want to accomplish some good, but their belief system is so myopic and rigid that the scripts produced are as bland as a fiber bar. It’s “good for you” writing, but the result is generally a huge-turnoff, for the road to hell is, as we have been told, paved with good intentions.

And then you have the middle-ground, a horrible description, for I believe these writers are anything but/ They’re top-notch, for they want to have a script that can become a commercially successful film that entertains audiences – and is meaningful as well. The audience might learn something – but not by force feeding, They may laugh until their sides hurt, but only because the comedy is relatable and well-executed. These writers are my heroes, for they are the true master-craftsmen. They write from the heart, and they write for you. Their scripts are gems, large and small, and they come in all genres, shapes and sizes.

Storytelling did not involve as a form of artistic masturbation; crack open the heart of any committed screenwriter, and you will find within the ancestor of us all – the tribal shaman, gathering his or her clan around the fire, weaving stories to ward off the dangers of the night.

So, before you begin work on that new project, before you hit your outline, or type Fade In, do yourself and the script a favor. Ask your self why you write it.

Now, go write.

HRH, Princess Scribe


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The Mona Lisa Smile

images-1There are thousands of screenwriting courses, that promise to offer you the opportunity to “write a role that will have every A-List actor out there fighting for your script!” Some of these promises go further and claim that that your script will take the great leap – the one that will generate a bidding war, Submit on Thursday, sale on Monday. You know the drill.

I don’t know what to say about those courses. I don’t know if writing can be taught. Appreciation, history… these are things that can be taught. The rest? Well… I’m not too certain.  One can learn structure, writing dynamic dialog, creating a character’s complex backstory. These elements can be taught – and taught well, but the rest? I don’t know. I rarely purchase a lottery ticket, therefore,  I won’t be standing in front of the camera as I cradle an oversized check. That’s one of the reasons that I don’t encourage you to buy into the aforementioned dream – an A-lister will value your words above those of everyone else’s. Being a filmmaker is hard. Your skin needs to be fused with Kevlar, in order for you to survive.

And so, I won’t teach you how to write. I will, however, ask you to look at Da Vinci’s Mona Lisa.

Look at her. Now, look at her smile.

1376059845000-Mona-Lisa-2Mona Lisa is a richly layered work of art. By layered, I do not mean with paint,  chalk, or other tangible tools, but the layers of the subject – Mona Lisa.  What and/or whom is Mona Lisa? Where did her smile begin and where does it end –  and, from what? Joy? Passion? Penance? Pain?

In short, what is the truth within her smile? What’s the story? Is her smile one of revelation… or is it a smile of sorrow? Is she Our Lady of the Smile of Perpetuity?

Why is she smiling? What happened to her, for this expression of elegance and possibly deceit to grow?

This question may seem trite, and yet, I assure you, that it is anything but. Look at her. Her glossy hair, her patrician features, her elegant fabrics, and her enigmatic smile. Look at her in wonder: What is the source of Mona Lisa’s smile?

Now, ask yourself the same question…. but of your own script : When does your character have his/her own Mona Lisa smile?

And why?

Do that, and you will have a character that could not be declined. Get out there. Get out of your house, your coffee shop, your caffeine-laden sanctuary. Get out of your head, and into the world… and permit yourself the glorious action of finding out what caused Ms. Lisa to smile.

Then, go write.

HRH, Princess Scribe


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The Conversations

Originally posted on Princess Scribe's Blog:

images-1Today is August 4. Today is the fourth anniversary of the death of my mentor, employer and friend, Blake Snyder.

In the past, I’ve marked the date with a journal entry about Blake, his influence on me, and the memories surrounding his unexpected passing.

This year, however, I choose a different path.

BJ Markel, Blake’s partner in Save the Cat! and closest friend, has invited several of us who knew Blake, to contribute to a series of columns about our conversations with the Master Cat. I have a few of these in mind, as I am certain, do others.

And so, while I peruse my treasure trove of memories, and prepare to pen my own remembrances, I encourage you to visit the site, and read the first of many of these entries. Blake’s childhood friend, Tracey Jackson, shares her memories of her last conversation with Blake.

Now, go write.


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