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According Minzolini is not news, because it hides its viewers: I do a tour of clicks on the internet ...

Light Brown Mucus Before Period

galaxy upside down

Perhaps, given the experience of past years, one could reasonably imagine that it would be impossible to fall lower, and instead the organizers of the Gutenberg Galaxy 2009 (Liguori publisher) this year have managed to scrape the bottom of the barrel. No particular event, no sign indicating the presence of the fair (some people have arrived from outside the station at sea and closer they started to have serious doubts that the Galaxy should take place there, not finding any indication), publicizing the event will not speak. The editors were very few, 95% of Campania, of which some only publish books written by priests, others were 20 copies of print on demand title, almost all were paid and provided with a catalog shameful. And who was in possession of the biggest stands? The usual historical brands of the territory, whose editorial policy of recent years has resulted in death, and who now seek to bring the entire publishing bell in his grave, because they remain the only ones to attract the funds of the region, removing the few healthy energy resources, which of those borrowings would culture, instead of their own pocket . Speaking of money ... as Liguori will have spent the avalanche of money that would serve to organize the Galaxy? Is unknown. Because the point is that all these individuals who continue to stick to the coffers of the province to make aggressive treatment in spite of its apparent brain death, should not be accountable to anyone for what they produce with the money. And here comes the inaction of the authorities makes it possible this act of vampirism, taking care only to spend the money available, no action to control how it is spent.

Of course the show has been deserted by the people, and publishers have had losses exceeding 70%, what happens when a show does not offer anything, the tickets with no free (as happens in Turin), and Publishers frightening from the desert of buyers discounts do not apply. I'm curious to know who has the courage to recur next year.

only positive presentation of the gifted by "East of the Equator" (yes, they are too close to the publishing house to make the praise, but I appeal to Morning, who noted the uniqueness of the event) with a splendid performance of the A67, a musical group whose board to draw near. Among other things, to the east was one of the only ones to offer discounts on books.

For the rest, nothing new under the sun. From the city of ghosts is everything.

Nick Jonas En El Hospital 2010

Writers

Last week I received two emails almost identical, which address this issue: the transition from writing fiction to screenwriting, both considered a career as a writer as the only alternative to eternal hunger. As in recent years I have felt a deep interest in the world of screenwriting (more playful and economic interest), and since not very much agree with the conclusion reached by the mail, I take this opportunity to talk about it. Preface: I am not a writer nor an insider, express opinions based on my experience and information I have gathered around. Thanks dear.

In my opinion, the first hurdle is whether we are capable of writing screenplays, in the sense that it always turns out to be a good writer a good writer, and of course the opposite also applies. Much depends on our approach to the text, the script is a business much more technical than a novel. In a book, beyond a set of rules that is a good rule to follow, the general map tends to bend easily to the will of the writer, while the script is more rigid, due to the phase where it is scanned (subject, treatment, screenplay). Define the characters in the subject, action, plot. It is one of the most creative (in practice you have a blank sheet of paper and you write what happens), a book with the only difference is that you must not make the steps of history "letter." We are talking about a text than 4-5 typed pages long, so it is easy to understand how important it is to say a lot with less words as possible. This is an advantage for some writers because you get straight to the point, for others it is frustrating because they see their own style disintegrate. For me, I think it is just taking a different perspective: the brand style not bind more to the words, but directly to the events of history. Our personality penetrates through what happens in the story (in fact it should happen in a novel, those in best case). This sounds easy and nice, but the change is radical: we can not enter in the characters and explain them, we make visible their feelings, so we must think only in terms of action. What I do not see it happens. To ensure that the public See and hear all the most important stages of the film, we have to design exactly the order and hierarchy of events. It is impossible to rely on improvisation. Thus, the variables involved in determining our propensity to this kind of writing are: (A) the ability to structure a plot, (B) methodical approach to the text (not to Kerouac, so to speak). If you lack these qualities, forget it.

Once knocked off the treatment, we move to the dialogue of the screenplay, which are the most fun. Here we return to the roots, because the scenes dialogues are something that we already have a strong experience, both as readers and as writers. When it was over though, there's something wrong. What we've got? Perhaps our work is good, or maybe not, the fact is that it is still a work in half. It will take one more step to transform it into a movie director. A bad director can ruin a great script, a good director can also be resized by a cast of bad actors, or a bad setting, or simply by a reduced Baget. The variables are many and difficult to control. The problem of a writer when working in the field of cinema, is to accept the idea of \u200b\u200bits partiality (problem does not arise in the literature, because the writer is a God that controls virtually everything). Perhaps this is the hardest part. On the other hand, you share the responsibility of failure with a number of people, which is not bad. It is a matter of point of view, it is important to understand that these are two forms of writing related, but very different.

economic side. There is no doubt that it is easier to get rich writing for the cinema, especially given the work / Compensation, in the literature that hangs dramatically from the wrong side. But how much work there? In Italy we produce so so many movies? I think not. It is plausible to argue that there are hundreds of writers who would like to thank God if you have the opportunity to work once a year. A market is certainly the most prosperous of fiction, but here the fees are lower, and then it is a narrative scheme in some respects different from the movies, in the case of serial products. Then another study, another job application.

To sum up, if you plan to switch from one bank to another just to get easy money, forget it. As in literature, there is a lot of people that wants to emerge, and at best is more motivated and prepared for you. Do this only if fed a passion sincere to the cinema and the work of writing, as well as having a strong will to learn.

For those interested, I suggest two basic manuals to read in this order:
1) the hero's journey, Vogler, Dino Audino Editore
2) HOW TO WRITE A GREAT SCRIPT, Seger, Dino Audino publisher (not be fooled by the title, is a wonderful manual)

For more information (schools, competitions, etc ...) http://www.sceneggiatori.com/