Lately I’ve been most drawn to soft pinks, iridescent/holographic accents, and conversations that are soft and slow.
In Retrograde is coming together much slower than I would like, but it’s really starting to emulate these quiet features. It’s quite literally the softest presence existing in my frantic life at the moment. So far anyway. I’m actually planning on including supernatural elements into the storyline, but we’ll see where I go from there.
Although I haven’t had much time to write, that’s not the only thing getting in the way of this project. One thing that took me the longest to get comfortable with screenwriting was the difference between screenwriting and the usual writing you’d read out of a novel.
When I’m screenwriting I’m afraid I’m writing too much, so when I cut back I feel like a robot has taken over, only making mechanically stiff moves.
The “only write what the audience will be able to see” rule is controlling too much of my writing. Because then I read other screenplays that have been made into amazing films disregarding this rule with extra detail here and there, adding to the feel of the piece which is important. So I’m a little confused as to how much is too much detail, and how too little detail will suck the life out of my screenplays.
I’m hoping this screenwriting class I’m taking in the fall will help me sort this out.