How high is your Screenwriting IQ? Take this quiz and find out how much you know about the business of screenwriting.

True or False

1. Literary agents are eager to add new writers to their client list.

That’s False. Agents are busy enough handling their present clients and don’t take on new clients very often. The exception is when a writer achieves success on his own, and then the agents come calling. The other exception is when a person whom the agent respects recommends that the agent look at another writer’s material with the possibility of representing him.

2. Options are generally a good deal for screenwriters.

False. Options are a bad deal for writers. For very little money, the writer can’t pitch his project to anyone for the length of the option. And when the option is up, the company optioning the material usually fails to set up the project and years have been wasted.

3. Half the members of the Writer’s Guild earn no income from their writing each year.

Unfortunately, that is true.

4. High Concept is any big budget film.

That’s False. High Concept is not related to budgets at all. It’s an original concept with mass appeal that can be pitched in a few sentences.

5. A rejected screenplay can be resubmitted to the same company after revisions.

False. You have only one shot with each company you submit to.

6. Dramas are one of the most difficult genres to sell.

True. Dramas are a difficult sell because they are execution-driven, rather than pitch-driven. You have to read the scripts to appreciate it.

7. Verbal contracts are just as enforceable as written contracts.

False. Verbal agreements are legal contracts but then it comes down to one person’s word against another. Get everything in writing, so there are no misunderstandings.

8. There is a lot of theft of material in Hollywood.

False. Contrary to public opinion, theft of material does happen, but it occurs far less frequently than people think. It’s much cheaper to acquire material legally than steal it, avoiding lawsuits and bad publicity.

9. The writing and rewriting of a screenplay is generally a one to two year investment of time.

Very true.

10. Never sign a release form because you are signing your rights away.

False. Signing release forms is sometimes the only way to get your material read by production companies and studios.

Steve on Screenwriting is a new Write On! Expert Column. Watch for it the first Thursday of each month.

Wednesday, September 1: The Write On! September Challenge begins. Short Fiction & Non-Fiction/Essay Query Contest.Deadline is September 31. Prizes from iScript, Write On Track LA, and VBT-Writers on the Move author Carolyn Howard Johnson. Query Queen Wendy Burt-Thomas will select the 1st, 2nd, and 3rd place winners from the finalists! For complete prize info and submission guidelines, check the website.

Wednesday, September 1: Film Independent’s Spirit Award Submissions start today. Details here.

Thursday, September 2: The Writers Store’s last day in Westwood.

Tuesday, September 7: The Writers Store’s first day at the new location: 3510 West Magnolia Blvd in Burbank.

* Details on The Writers Store move in the August StoryLink newsletter!

Wednesday, September 8: Dream It, Then Do It “Power Lunch” with Debra Eckerling and Marla Martenson on Blog Talk Radio from 11 am – 11:30 am Pacific Time/2 pm Eastern Time. Listen. Call in. Learn. Here’s the link!

Save the Date: The next LA Mediabistro Cocktail Party, hosted by Debra Eckerling and Michelle Thatcher, will be at Geisha House, in Hollywood, on September 14, from 7 pm – 9 pm. Details and RSVP here.

Sundays: Scriptchat is a twitter chat for new and seasoned screenwriters. Since screenwriters are global, Scriptchat has two chats each Sunday: 8pm GMT is EURO #scriptchat, moderated by Mina Zaher (@DreamsGrafter) and 8pm EST, moderated by Jeanne Veillette Bowerman (@jeannevb). Remember, Scriptchat is a community, not competitors. Everyone has something to learn. All transcripts are posted on the blog, as well as tons of screenwriting resources: http://www.scriptchat.com.

Post your September Goals here and be entered in the monthly drawing to win an iScript. (An iScript is a professionally recorded audio version of a screenplay or novel read by professional readers, similar to an audiobook.)

Send event listings (2-3 lines, including website and contact information) to Debra@WriteOnOnline.com.

* * *

Save the Date: Write On Track LA launch party in Santa Monica on September 29. Details on this and the virtual launch coming soon!

Write On Track Personal Training for Writers! Writing coach Debra Eckerling trains individuals, experts, and entrepreneurs, so they can organize, articulate, and complete their writing projects. Go to www.WriteOnTrackLA.com, email Debra@WriteOnOnline.com, or call 310.908.8980 for more information!

Remember those article and short-story queries you promised yourself you would submit this year? Now, you have an extra reason to sit down and work on them: The Write On! September Challenge: Short Fiction & Non-Fiction/Essay Query Contest. A query is the letter sent to a publication, used to sell an article, short story, or essay, as well as the writer.

Author Wendy Burt-Thomas, The Writers Digest Guide to Query Letters, will select the 1st, 2nd, and 3rd place winners from the finalists!

THE SEPTEMBER CHALLENGE: SHORT FICTION & NON-FICTION/ESSAY QUERY CONTEST

First Prize: A medium-length (or 21,000 word) one-reader iScript (an iScript is a digital recording of a manuscript,  read by an actor)

Second Prize: A 20-minute writing-coaching session with Debra Eckerling, Write On Track LA via Skype or phone

Third Prize, eBooks, courtesy of VBT: Writers on the Move’s Carolyn Howard-Johnson (author of the acclaimed HowToDoItFrugally series): The Frugal Editor and The Great First Impression Book Proposal.

Submission Guidelines:
- There is no fee to enter this contest
- Email your query to Debra@WriteOnOnline.com by Thursday, September 30
- Queries should be 1 page
- No attachments; paste text in the body of the email
- Include name, email address, address, phone number, and category at the top of your submission
- By submitting, you are agreeing to join the Write On! email list

Winners will be announced on Monday, October 11, on Write On! Online, and in the October Write On! Newsletter.

According to Wendy, all query letters should have the following elements:
* Great opening hook
* Supplemental information about your book or article (word count, people you interviewed for the article, genre your book falls into, etc.)
* Information about you – aka your “platform”
* A request to send your manuscript or proposal—or for representation in the case of an agent
* How to contact you

Read Wendy’s complete Q&A here.

Submit your query today!

To your success!

* * *

Please note: I will send an email confirmation within a few days of receiving a submission. If you submit and do not hear from me, please message me on Facebook or send an email to my alternate address. Thanks!

Pamela Jaye Smith is a writer, mythologist, international consultant and speaker, and award-winning producer and director. Her latest book—Symbols.Images.Codes – The Secret Language of Meaning in Film, TV, Games, and Visual Media—was recent released by Michael Wiese Productions. The founder of MYTHWORKS and co-founder of the Alpha Babe Academy, Smith is also the author of Inner Drives, The Power of the Dark Side, and Beyond the Hero’s Journey.

She is currently writing another book for media makers called, SHOW ME THE LOVE! Create and Enhance the Passion in Your Stories, as well as a novel about a group of people living multiple lives in different times and places—some aware of  their other lives, some not—all engaged in an ongoing contest for the very soul of humanity. Smith will be a speaker at the Death & Transformation Conference in LA in October and at the 10Day/10Minute Film Festival in Beirut, Lebanon, this November.

Why did you write Symbols * Images * Codes?
Humans communicate in so many ways: verbal, visual, by touch and feel, smell.

As a mythologist also very interested in history, it struck me that a lot of what we know about the distant past has come down through the images painted on rocks, carved on bone, engraved in metal, or molded into the decor of sacred sites. Not only do symbols convey cultural particulars—stained glass windows of cathedrals portrayed Bible stories for the then mostly illiterate congregations, hieroglyphs on Egyptian tombs gave instructions from making beer and bread to navigating the afterlife, and stone carvings on Mayan temples recorded the passage of time and sacrifices of enemy hearts—but these visual communication devices also strike resonant chords deep within us. Something instinctual, something hard-wired in our brains, gives symbols their timeless potency.

The more consciously we writers use symbols to convey meaning and emotion, the richer our stories will be. A well-chosen symbol can transform a phrase into a world of meaning.

What was your process for writing Symbols*Images*Codes? Any similarities/differences between this and your other books?
First, I made a long list of as many categories of symbols, from the standard earth-air-water-fire to the more esoteric. Then came the painful task of paring it down to fit the page count.

Similar to my other books was the drive to make the information fresh and inspiring, yet practical. I love weaving mythology and metaphysics into the art and craft of writing: tying it in with examples from real life and current affairs makes it solid, giving examples from entertainment shows how writers can enrich their own work with these classic story-telling tools.

The delightful difference was that for SYMBOLS I could put actual images on the page to illustrate the various concepts.

Find your own best bio-rhythm time and try to set aside at least two-hour chunks of time devoted just to writing. Unless I’m writing on assignment (and thus paid to do so) I try to spend 6 to 10 hours a week on a project in between doing all the other things my business requires. That may mean getting up earlier in the mornings, or setting aside an entire day on the weekend just for writing. Using a timer and working in 30-minute increments with a little break every hour also helps discipline the time and focus.

What was your favorite part of writing the book? The greatest challenge?
Favorite part—watching lots of movies to find just the perfect example for each symbol, image, etc. How fortunate we writers are in that reading, watching films, observing others, conversing, and just sitting and thinking can all be called “work!”

Greatest challenge—confining myself to the allowed number of pages and words. I’d love to have written a much longer book as the world of symbols and images is so rich with examples from thousands of years and hundreds of cultures.

How important is symbolism in non-fiction? Fiction? Video games? Etc…
Symbolism can strengthen any communication in any style. Some might question whether advertising is non-fiction, but the power of symbols used to market products, services, and politicians is unquestionable. Just watch Mad Men or look at the covers of popular business and self-help books. Campaign posters are a great study in symbolism.

Symbolism and imagery are so often the entire fabric of poetry. The more we can use them in our prose, the more evocative and powerful it can be. The most universal and timeless stories are typically filled with symbols that span eons and cultures: from Juliet’s uplifted and separate balcony to young Arthur pulling that sword out of the stone, from Indiana Jones stepping out into mid-air in his Leap of Faith in Last Crusade to the water imagery of I’ve Loved You So Long.

Video games are packed with symbolism, from the initiation-like levels of a game to the acquisition of skills, tools, and weapons. Many games are set in fantasy worlds where visual shorthand conveys character personality and abilities. The options available when building an avatar are typically rich in symbolism, from hair styles to accessories conveying rebellion, wisdom, craftiness, and much more.

The more ways you can convey your message—visual, verbal, etc.—the more effective it will be.

What are the top three things a writer needs to know about incorporating symbolism into their projects?
Carefully select your major symbol so it can speak to at least two of these three levels: physical, psychological, philosophical. E.g. the full moon brightens the nighttime forest (physical), brings out the werewolf part of a character (psychological and physical), and implies a distance from and dilution of the purity and clarity of sunlight (philosophical and psychological).

Use the symbol at least three times, preferably in relation to an emotion, a situation, or a concept. All three if your story expands that deeply.

Symbols, images, and codes are only effective when they are appropriately presented, framed, focused upon, and noticed (or not, if that’s part of the plot) by your characters. In prose use the tools of speech such as metaphors, similes, synecdoches, etc  In scripts use visual composition to draw the viewer’s attention: “he throws his arms out, like on a cross” or “holding back tears, she moves to stand near the fountain.”

What are the main mistakes writers make in that area?
Being too obvious, too heavy-handed. You want the reader/viewer to feel smart for having discovered it, not roll their eyes because you’ve pointed giant neon arrows to it.

Using the same symbol so often as to lose its “aha!” impact.

Being too obscure, thinking everyone will get it. If you’re using a symbol that needs explaining, have a character do so at some point early in the story or do so in the prose if you’re writing in 3^rd person omniscient.

How do you balance all the aspects of your career?
With some difficulty … don’t we all?

From the Mystery School training comes the concept of our four bodies: physical, emotional, mental, and creative/spiritual. Seeing that each body gets some nourishment and exercise each day really helps, be it good food and some walking or swimming, visiting friends or watching a movie, reading science articles or non-fiction and doing brain-train exercises, and meditating or attending an inspiring event. The best writing comes when all four bodies are engaged.

Pull up the drawbridge. No matter how brilliant we naturally are, effective composition requires focus and concentration. When you’re writing, just write. Don’t check emails or texts, don’t answer the phone, don’t cruise the internet. Sure, sometimes we need to research online, but do set aside private time with just you and what you’re writing. It may mean taking a laptop with no wi-fi connection into another room to get the privacy you need. It probably means training your friends and family that just because it doesn’t look like you’re doing anything, you really are working and need quiet and solitude.

Marketing is the most difficult part for me as I’d rather just be writing, teaching, or gathering new info and insights to do more writing. We are all so very fortunate these days however, with so many easy and inexpensive ways to market our services and products online, particularly in social and professional networks.

Additional advice for non-fiction book writers?
What emotion do you want to elicit in your readers? Curiosity, engagement, outrage, ambition, sympathy, etc.? Select one main symbol that conveys that emotion and give examples, stories, or case histories to relate to it on at least three levels: emotional, situational, conceptual. [The Symbols book index is arranged to help you do this.]

Use the symbol in illustrative ways: climb the corporate ladder, lean the ladder up against the walls, put the ladder horizontally between two stable supports and use it as an exercise machine, etc.

Design your book cover with a symbol that captures your message. E.g. my Inner Drives book about using the chakras to build story characters shows a naked body holding an apple—symbol of temptation and all sorts of tasty and dangerous drives. The Power of the Dark Side shows a snake slithering out over dark water. This newest one on Symbols has what looks like a secret decoding device, slightly blurry around the edges and implying secrecy and treasure.

Additional advice for screenwriters?
For scripts to be sold and turned into a visual medium, you must first impress a studio development exec or production company reader with words on a page. Make your pages incredibly more powerful using potent, visceral words that create vivid images.

The more you work images and symbolism into your stories the better. Two excellent examples are Lawrence of Arabia (earth/sand, open spaces, and superb composition) and I’ve Loved You So Long (water and confinement).

What do you know now that you wish you knew at the beginning of your career?
1. That absolutely every experience counts—no matter how seemingly mundane, annoying, scary, or secret—because it can all be turned into literature.

2. Always carry a recording device [pen and paper, texting device, voice recorder, ketchup and a paper napkin, etc.] because the most strikingly brilliant ideas can also be quite elusive. How many of your own have slipped away into the oosphere because you didn’t get them down quickly enough?

3. The timeless classic stories need retelling for every generation and are a rich mine for inspiration. By giving them our own personal perspective and spin we can bring their wisdom and enchantment to our own readers and viewers in unique and entertaining ways.

The Complete Handbook of Novel Writing, 2nd Edition
from the editors of Writer’s Digest Books

During the last days on the August sun, many writers are daydreaming of a new project for the fast-approaching winter months or even the NaNoWriMo challenge. NaNoWriMo (aka NaNo) is short for National Novel Writing Month, where during the month of November, participants write a 175-page novel (50,000 words). Crazy? Perhaps. But the intensely paced deadline is what many writers need to finish that first draft. Is it too early to start preparations? Absolutely not. Plus, with the kids back in school soon, it’s the perfect time to start planning your next big story.

It is against the NaNo rules to write a single word of prose before November 1^st, but you may still choose a topic, create dynamic characters, and outline your structure beforehand.

Being my first Nano, I grabbed a copy of The Complete Handbook of Novel Writing to see what kind of advice was hiding in the pages. Upon looking at the table of contents, I knew this book was different than any other. Why? Each chapter is written by a different person. Most instructional books are by a single author, spouting one viewpoint on craft and story structure. However, seeing a variety of advice allows the reader to find his or her own style. Let’s face it, no single story analyst or author has all the answers.

Part One of the book gives guidelines for formulating ideas, plot, the setting, POV for your story, details, title, and so much more. In short, the advice in this section creates the foundation for your novel. Even if you’ve taken creative writing courses, it’s always good to get a refresher.

Part Two dives into the writing process of getting the words out of your head and onto the page. Authors and publishing professionals take you beyond knocking out the first draft to editing and handling feedback. Writing is all about the rewriting, after all.

Part Three deals with the many genres and how to best write for each. Perhaps there is one you’re comfortable with but others you’d like to explore. Dip your toes into the possibilities. Frankly, I’d probably read this section first in preparation for building the foundation.

Part Four is possibly one of the most valuable: “Finding and Cultivating a Market for Your Work.” Professionals in the industry guide you through book proposals, queries, the dreaded synopsis, building a platform, editors, agents, self-publishing, and managing your own expectations. When you read this section, you’ll have a clear understanding of the obstacles and solutions.

Part Five is by far my favorite.  You get to crawl in the minds of great novelists with pages full of author interviews conducted by the Writer’s Digest staff. It’s as close to being a fly on a therapist’s wall as you’re going to get.

If you are looking for a book on not only craft, but also the business of writing, I recommend The Complete Handbook of Novel Writing. When they say “complete,” they mean complete!  Nothing is missing. Grab the book that offers a range of advice from authors and publishing guru, and get your NaNo on!  November will be here before you know it.

5 of 5 Purple Pencils

For more from Jeanne, read her article: Moving Write Along: Advice from the Experts – From Writer to Tweeter.

Congrats to the writers who were honored at the 62nd Annual Emmy® Awards. Best Comedy Modern Family and Best Drama Mad Men were also the winners for Outstanding Writing.

And the writing-winners are …

Outstanding Writing for a Comedy Series:
Modern Family – Pilot – ABC
Writers: Steven Levitan and Christopher Lloyd

Steve Levitan, Modern Family

Outstanding Writing for a Drama Series:
Mad Men – “Shut the Door, Have a Seat” – AMC
Writers: Erin Levy and Matthew Weiner

Erin Levy, Mad Men

Post a Question for Erin Levy in the StoryLink Community.

Outstanding Writing For A Variety, Music Or Comedy Special:
63rd Annual Tony Awards – CBS
Writer: Dave Boone
Special Material Written By: Paul Greenberg

Outstanding Writing For A Variety, Music Or Comedy Series:
The Colbert Report – Comedy Central
Head Writer: Barry Julien
Writers: Stephen Colbert, Allison Silverman, Tom Purcell, Rich Dahm, Michael Brumm, Rob Dubbin, Opus Moreschi, Peter Gwinn, Jay Katsir, Frank Lesser, Glenn Eichler, Peter Grosz, Meredith Scardino, Max Werner, and Eric Drysdale

Outstanding Writing for a Miniseries, Movie or a Dramatic Special:
You Don’t Know Jack – HBO
Writer: Adam Mazer

For a complete list of Emmy Awards Winners go to www.emmys.com.

* * *

Sublime Primetime: On Thursday, August 26, 2010, the Writers Guild Foundation and Writers Guild of America – West conducted their annual panel of Emmy-nominated Writers.

Lost’s Carton Cuse (third from right) moderated the panel which included (bottom row) Robert King & Michelle King, The Good Wife; Rolin Jones, Friday Night Lights; (top row) Andy Richter, The Tonight Show with Conan O’Brien; Steven Levitan, Modern Family; Bruce C. McKenna and Robert Schenkkan, The Pacific; Mindy Kaling, The Office; Brad Falchuk & Ryan Murphy &Ian Brennan, Glee.

Write On! caught up with Steven Levitan last night at the Writers Guild Foundation and Writers Guild of America – West annual panel of Emmy-nominated Writers. Levitan and co-creator Christopher Lloyd are nominated for the Pilot of Modern Family.

Watch the Write On! video with Steven Levitan below. For more on Modern Family, read Christopher Lloyd’s StoryLink interview.

It’s hard to believe that summer is almost over. In some parts of the country kids have already started school, and the unofficial end of summer is less than 10 days away!

With the end of summer comes the end of the laid-back mindset. Time to start setting deadlines, unofficially plan for NaNoWriMo (more on that in Monday’s Write On! Review), and wrap up projects by the end of the year.

Before you go diving in to fall, let’s talk about The Recharge … and how you can make it through to years-end without burning out.

Why Recharge?

1.Brain processes information more effectively. Downtime is when we learn, process, and make room for more information. Like the rest of the body, the brain is only capable of doing so many things at one time. When we’re constantly being bombarded with new information, projects, and tasks, the brain never gets time to catch up on the backlog.

2. Stress levels are lowered. When we reduce our stress levels, the entire body gets a chance to recover. Stress creates a myriad of physiological changes in the body, including decreased blood flow to the brain. Stress, literally, lowers our intelligence.

How to Recharge?
That’s up to you. Though, here are three helpful rules that will help you make the most of your recharge.

1. Don’t make a plan. Set aside a day, half day, even a few hours, to do whatever strikes your fancy. Don’t work on a specific project, use it as a chance to “catch up.” Or take your in-laws sightseeing. Activities must fall in to the category of, “Ooohhh, that sounds like fun.”

2. Go it alone. While we may love our friends and family, spending time with them is still a commitment. You need to make sure everybody’s having a good time, nobody is getting crabby, and everyone has food and drink. By going it alone, you truly have the freedom to execute on rule #1.

3. Make it OK.Taking a day to recharge is only going to work if you embrace it for what it is. If you spend the entire time worrying that the your next chapter isn’t getting written. then taking a recharge day is only going to make the situation worse.

Rule #3 tends to be the most difficult. We already work too much (and always have too much to do), so spending our precious free time ALONE and UNPLANNED, may seem wasteful. But, trust me, you will come back a much, much happier person. I’m all about happy, so highly recommend this mindset going in to it.

Last Sunday, I took a recharge-day, allowing myself to do whatever I wanted. Since I set no agenda and used the rule of, “Ooohhh, that sounds like fun,” I ended up working through some nagging problems, clearing some to-dos off my plate. The freedom from those items being “obligations” made tackling them fun. It never felt like work, made me smarter, and allowed me to come at them differently. The results carried over to the next day. I returned to work considerably happier, more focused, and monumentally more productive.

How about you? When was your last recharge? What challenges do you face in making your recharge times happen? Please comment below.

Jen Waak is a Seattle-based movement coach who uses a system that combines eastern philosophy with western medicine to reprogram the nervous system and get people out of pain, moving better, and feeling younger. jen@movefitfun.com.

Wednesday, August 25: Michelle V. Rafter talks Freelancing in the Digital Age on the Write Now! Mastermind Call with host Rochelle Melander at 10 am PDT. Michelle V. Rafter is the founder of WordCount, a blog for independent writers. For details and to sign up, check the website.

Wednesday, August 25: Today is the next Dream It, Then Do It “Power Lunch” with Debra Eckerling and Marla Martenson on Blog Talk Radio from 11 am – 11:30 am Pacific Time/2 pm Eastern Time. Debra Oakland, author of Living in Courage, will call in as we continue our discussion about moving forward in spite of our fears. Listen. Call in. Learn. Here’s the link!

Wednesday, August 25: American Cinematheque at the Aero Theatre Presents… An Evening with Screenwriter Callie Khouri, Thelma & Louise. Screening at the Aero Theatre, 1328 Montana Ave, Santa Monica, is at 7:30 pm, followed by a Q&A with the screenwriter. For tickets, go to Fandango.com.

Thursday, August 26: The Writers Guild Foundation and Writers Guild of America West present Sublime Primetime, panel of 2010 Emmy-nominated writers from 7:30 – 9:30 pm at the Writers Guild Theater, 135 S. Doheny Dr., Beverly Hills. Lost’s Carlton Cuse will moderate the panel, including Rolin Jones – Friday Night Lights; Mindy Kaling – The Office; Robert King & Michelle King – The Good Wife; Steven Levitan – Modern Family; Bruce C. McKenna and Robert Schenkkan – The Pacific; Ryan Murphy & Brad Falchuk & Ian Brennan – Glee; and Andy Richter – The Tonight Show with Conan O’Brien. For tickets and additional information, check the website.

Wednesday, August 27: American Cinematheque at the Aero Theatre Presents… An Evening with Screenwriter Daniel Waters & Director Michael Lehmann, Heathers. Screening at the Aero Theatre, 1328 Montana Ave, Santa Monica, is at 7:30 pm, followed by a Q&A with the screenwriter and director. For tickets, go to Fandango.com.

Monday, August 30: Film Courage – The Radio Show hosts its monthly Film Courage Interactive from 7 pm to 11 pm at The Downtown Independent, 251 S. Main St., Los Angeles. The night will feature Shooting April, written and directed by Tod Lancaster. Director’s Q & A and filmmaker-discussion (“support group”) caps off the event. For more info, please visit www.downtownindependent.com or filmcourage@gmail.com.

Tuesday, August 31: Deadline for the Write On! Summer Challenge: Write a fictional “How I Spent My Summer Vacation.” Prizes from iScript, The Writers Store, and authors from VBT-Writers on the Move. Travel writer John E. DiScala (a.k.a. Johnny Jet) will select the 1st, 2nd, and 3rd place winners from the finalists!. Submit your 200 to 400 word story in the body of an email to Debra@WriteOnOnline.com. For complete prize info and submission guidelines, check the website.

Sundays: Scriptchat is a twitter chat for new and seasoned screenwriters. Since screenwriters are global, Scriptchat has two chats each Sunday: 8pm GMT is EURO #scriptchat, moderated by Mina Zaher (@DreamsGrafter) and 8pm EST, moderated by Jeanne Veillette Bowerman (@jeannevb). Remember, Scriptchat is a community, not competitors. Everyone has something to learn. All transcripts are posted on the blog, as well as tons of screenwriting resources: http://www.scriptchat.com.

Post your September Goals here and be entered in the monthly drawing to win an iScript. (An iScript is a professionally recorded audio version of a screenplay or novel read by professional readers, similar to an audiobook.)

Send event listings (2-3 lines, including website and contact information) to Debra@WriteOnOnline.com.

* * *

Write On! Track Personal Training for Writers! Writing coach Debra Eckerling trains individuals, experts, and entrepreneurs, so they can organize, articulate, and complete their writing projects. Go to www.WriteOnTrackLA.com, email Debra@WriteOnOnline.com, or call 310.908.8980 for more information!

Paula Bruno is the author of Come Hell or High Water, the first book in the Kirkland family saga. Come Hell or High Water is set in 1958, and the western/family series revolves around a feud between the Kirkland Ranch and the fictional Logan family of Burkburnett.

“The Kirkland Family Saga reflects many of the values that people in Texas hold dear, but it also shines a light on how much the world has changed in the past 40 years,” Bruno says.

A floral designer by trade, Bruno started a critique group with women in her hometown in the 1990s … and became the group’s president. She shares her creative process and journey, and offers tips for writing series, with the Write On! community.

What inspired you to first start writing?
Storytelling has always been with me. For my fourth birthday, in 1953, my mother gave me a plastic stagecoach drawn by two beautiful dapple-gray horses. I locked my guests out of my bedroom and played with it alone. I fell in love with horses that day. At first, my stories mimicked, or were variations of what I saw on the early television Westerns such as The Lone Ranger and The Roy Rogers Show.

What was your process for writing Come Hell or High Water?
I started writing long before I knew anything about proper writing techniques so the novel that began as The Whore’s Child in 1973 slowly evolved into Kirkland’s Choice in the 80’s, then finally into Come Hell or High Water in 2000. Sometime during the ‘80’s I sent the manuscript to an agency and paid $75 for a complete reading. I knew this was not recommended but I had to get some kind of professional input. This reader had some wonderful things to say about my writing and the story, but also had many suggestions for improving it so I went to work on it again.

The first major change didn’t come until I joined our local critique group in 1993 and learned about “point of view.” I immediately started a re-write, separating each scene into one person’s POV. Later, I rewrote it again, narrowing it down from six points of view to two, Revis’ and Amanda’s.

The core story has not changed over the many revisions and title changes. What has changed is the believability of the characters, the plot, and the resolution.

What was your favorite part of writing the book?
I think my favorite part of writing this story came when I decided to give Revis “an obvious means of support.” In the fist versions of the story, the Kirklands were obviously wealthy (even though the Kirkland Ranch was defunct). Revis didn’t have anything “real” to keep him busy, so I put the Kirkland Ranch back in business. As soon as I made that decision, the cowboys started showing up. Luke, Jones, Colt, Spence, Jake, and Scooter filed into the kitchen on New Year’s Eve 1958, and were introduced to the reader one by one from Revis’ point of view. Each one of them added a new dimension to the story.

The greatest challenge?
Staying true to each character. Finding believable reasons for the characters to behave the way they do and incorporating it into a smooth flowing story.

How did you go about creating the Kirkland Family?
I don’t know where Revis Kirkland came from. He seems to be a blending of all the best of the men I have known, most notably my husband and our fathers.

Originally, Revis had a fairly large extended family, but after a few years, I realized that simple is easier, so I pared his family down to his parents, who, even though they are both deceased, play a big role in what happens in the stories. His two sons are as vital to the stories as Revis is. Luke also seemed to come out of nowhere as trusted foreman of the Kirkland Ranch and within a few sentences, he had become Revis’ mentor and life long friend as well.

Originally Revis met Amanda through his illegitimate son, Toby, but by page 15 of CHHW, she’d become Luke’s daughter, born and raised on the Kirkland Ranch. In this light, she provided a way to tell the reader things about Revis that otherwise they wouldn’t have known. Luke does the same thing. While they are major players themselves, they give the reader insight into Revis’ character.

Why did you make the decision to write it as a series?
By the time I’d finished writing Come Hell or High Water, which is the story of Revis and Toby, I realized how much I liked Revis’ older son, Travis, even though he doesn’t have near the role in Come Hell or High Water as he did in the earlier version The Whore’s Child. Travis presented a chance to take Revis and the reader into that troublesome time for most parents when their kids turn into teenagers. Travis provided a venue for showing how hatred, whether founded or unfounded, fuels violence and ruins lives.

How do you plan to keep the future books fresh while keeping the set-up of the original story?
With the Kirkland Family Saga, all the stories are told from Revis’ POV. He’ll live well into his 90’s as a strong and inspiring character. His sons, Travis and Toby, will provide the romance. The mystery that surrounds Revis’ relationship with Eddie Ruth Logan will continue to the end of the last book. Much of the drama will be provided by the feud between the Kirklands and the Logans.

Why did you choose the Western genre?
Looking back at my early fascination with cowboys, horses, cattle, and the ranches they live on, it just seems natural that Revis would be a cowboy. But Come Hell or High Water isn’t a true Western.

Any advice for those looking to try writing a western, specific to the genre?
There are lots of good resources online for researching how life was for people who lived in different times. Find out what you want to know and then use only what is pertinent to the story you are telling.

Additional advice for writers?
Pay attention to that feeling you have when you are reading your manuscript. When it tells you something isn’t right, that it needs to be different somehow, go with it. In one of the early drafts of CHHW, in the scene where Toby’s mother leaves him out at the Kirkland Ranch, Revis is watching her car drive away. It’s nearly dark and about halfway down the mile long drive, he sees her brake lights come on. He wonders is she’s collided with one of his cows, but then she continues on and so does he. Every time I read that scene, I had a nagging idea that if I couldn’t relate it to something else later, I should take it out. I have the same problem that many writers have. I hate to delete my words, so I hung onto that scene until one of the members of my critique group read the whole story and suggested that since I was never able to relate the brake lights coming on to anything later in the book, I should delete it, so I did.

Any words of wisdom for those looking to have a second career as a writer?
If you are young, start it now. If you’re old, start it right now. If you are young, go for getting published the traditional way. If you’re old, publish it yourself. Come to find out, 99% of writers have to do their own publicizing and marketing anyway.

What do you know now that you wish you knew when you first started writing?
That it is all in there. The characters, the plot, the resolution and all I have to do, is get out of the way. I’m convinced that most of the “blocks” I’ve experienced have been because I didn’t have the confidence to let the story tell itself.

AND—there is a lot to be said about knowing what you’re doing, but sometimes we get so caught up in learning how, we never actually get it done.