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Scripts, Theater, Fiction, and the Essence of Medium
Ms. Caldwell, are you seriously advising people to write scripts? Scripts are for movies. You’re not writing a movie. You’re writing a story.
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To the Capital [Stageplay]
SCENE 1: Night. Train ambiance. Silas sits on the bed stage left, his eyes closed. Kiki sits in front of the bedside table, restless. A lit lantern rests on the table. Blankets lie in a pile downstage right.
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Blurring the Lines and Trusting Your Audience
In the previous posts, I covered the concepts of showing and telling and how Peter Rock advises using them in his essay “The Telling that Shows.” I could’ve ended this series at part 3, but that would mean willfully ignoring one of the central tenets of Rock’s essay. I’d also be omitting one of the…
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What to Show
The previous post covered telling, how Peter Rock advises using it, and what details work best when told. This post will address the other side of this discussion and the other half of Rock’s essay: showing.
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What to Tell
Last time, I began (what is shaping up to be) a lengthy discussion on showing and telling. I introduced Peter Rock’s essay “The Telling that Shows” as the piece that ended my own confusion surrounding this topic, as well as the method of writing a planning script to help me utilize both concepts in my…
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Why Writers Should Show AND Tell
Show, don’t tell. Personally, I kinda hate this phrase.
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To the Capital [Script]
(Night on the train. Low, rhythmic clatter of wheels. Moonlight peeks in through the window of the compartment. Silas sits on the bed, his back against the wall of the car. His eyes are closed, taking in the silence.)