“There are no small parts, only small actors!” is possibly the most annoying phrase I ever hear as an actor. Be assured, there are small parts. That said – there are roles that are small as well. This may sound like the same thing, but to actors, it’s not.

A role is an opportunity to showcase our talent; a part just pays the bills.

Because I am also an actor, this is something I may see from a different POV than other writers. First we, writers, need to understand what makes a character we are penning a ‘Role’ rather than just something to pay the bills (aka: a Job)?

Here’s an example from my life:
I have played a slew of roles. Among my favorites is Edith (the smallest role) in Blithe Spirit. So why would I want to play Edith? As an actor, she is (to my mind) the funniest character in the play and pivotal in unveiling the real twist at the end. That and she is just a funny character. Even though I spent most of the run of the show playing solitaire in the green room, I LOVED playing her. I have played her twice. The second time I asked to be cast in that role. A good friend, another actor, asked my why I had asked to play the role, after our first run through she came up to me and said, “I see why you wanted her so bad!” Edith rocks.

In my humble opinion, if writers take a leaf from Noel Coward’s book, we can learn a lot. Make the character that only shows up here and there, crucial to your story and FUN to play. Actors love the lime light, that’s a solid fact. They also love to be the character that is quoted and which the story NEEDS. That too, is limelight. Thespians are drawn like a hot bath at the end of a cold day to these quirky roles.

Character driven stories are not just driven by your main characters. They are driven by all of your characters. That is as simple as I can state this example for you. I have learned that everything from props, scenery, and each character either adds to your story or takes from it; nothing is really neutral.

How do you see your ‘walk-on’ characters? Do you feel like they get the respect they and your story deserve? If you are an actor, what smaller roles have you loved? What A-List actors have you seen do cameo’s that fit the “Role” vs. “Job” situation I am talking about?

As always, thanks for reading; now get writing!

Disneyland is where I vacationed two weeks ago. I returned with some sweet Mickey Mouse ears and inspiration for my writing. Thanks Walt!

As most vacations do, this one provided ample opportunity for conflict. Happily none of mine was worth making a movie about; all the same it got the wheels turning.

While there, I couldn’t help thinking that, as story-tellers, we’re meant to write conflict into each scene. The tiny conflicts, however, seem to be tougher to write than the larger. Here’s what took my mind down this path:

When my parents and siblings vacation as a family we divide and conquer. Those who want to go to the beach do. Those who want to sleep in do. Those who want to sight-see do…and so forth. We meet up for meals, but, even then, we might not all be together.

My in-laws, on the other hand, start at the crack of dawn and never leave one another’s sights. Even for restroom breaks…EVERYONE waits for you. This vastly different dynamic is what got the wheels turning for my Muse.

One system may not be better than the other, BUT, I had separate expectations from the rest of the group; queue potential conflict! I will make myself the main character for this example:

Let’s make me claustrophobic – but, I want to see my in-laws – (or maybe you can guilt me into it – remember this is your story). How does that change each scene? Is this a comedy or a drama? Let’s use the nerve damage in my hand: the brace I wear will cause issues at the airport and be a hindrance while on this trip. Now, we can choose if I’m just in minor pain and cranky, a martyr, or perhaps good natured (boring choice – but an option). We then need to consider, again, how this makes our other characters react. What direction does the story take with each minute detail?

BTW, I had an awesome trip (not the stuff of movies, but fantabulous for real life). The above examples are fine-points that can add to your main story; feed the conflict.

In my humble opinion, if we get to know our characters inside and out we know how to best write in stumbling blocks for them; making our tale more interesting as we go.

What methods do you use to find the right amount of conflict in your narratives? Is it tricky for you to uncover ways to weave divergence into your stories? What’s YOUR method?

As always, thanks for reading and keep writing!

Is almost unanimously the first thing I hear when I tell people that I’m a writer. My thought then is, well, why aren’t you? With more frequency I seem to be having that conversation with people and the crux of it is: they don’t know how. So here are some tips I’ve learned along the way to get you started. These apply whether you want to write novels, poems, or screenplays. This post was a request from a reader; I hope it is of use to you!

Pick a very specific time and day each week when you only write. This can be M-F 8pm-9pm or every other day. Just so long as it is realistic and you stick to it. That may not seem like much but we all start somewhere. I finished several novellas that way, so I feel it works.

Give yourself a “weekend”. Pick two days when you WON’T write. Yup, two days a week, just like with any job, they don’t have to be right next to each other, but everyone deserves a weekend. I thank my script consultant for that gem!

Enroll in some classes. I am a big believer in Writer’s University. You can take online classes from incredible people who will teach you how to “Write Dialogue for Emotional Impact” all the way up to “Pitch and Presentation” (which is also a great class for learning how to summarize your story).

READ. Not just books about writing, but also books you enjoy, screenplays, poetry, anything that draws YOU in. Note which genre/s you lean towards and what pushes you away. You will find that this is invaluable to developing your own skills as a writer.

Find a support network. I recently connected with a woman, who has her first finished screenplay and had never shown it to ANYONE. I can promise you that if you never show anyone your work they will never have anything to get excited about. Allow fellow writers (not just family) to support you. We, the writers, get the whole, ‘inner critic’ and ‘megalomania’ that come with being a writer. A quick Google search will help you find writers groups in your area if you are not sure who to start with. I started my first group right out of Kathie’s Pitch and Presentation class.

Are you a writer? What tips would you give those who want to write but just feel overwhelmed by the idea?

As always, thanks for reading and keep writing!

As you may know, I ran away to Utah a week-ish ago and met with the director (David Skousen) and the producer (Sae Sae Norris) for THE HAAN BLADE. It was my first “meet and greet”. I have been working with these people for a while now, but it has ALL been over the phone / e-mail.

I was terrified.

Stereotypically, my first thought was “what do I wear?” I chose “casual” although, dressing comfy (jeans and a sweater) doesn’t mean I have to look homeless, right? Thank you, White House | Black Market. –Yes, I spent $100 on ‘lunch’ at a clothing store.

I had a list of “rules” and did my best to stick to them. Here they are:

1. Don’t talk too much.
2. Don’t discuss the contract.
3. Don’t discuss the script; unless being nebulous.
4. Be myself.
5. Be memorable.
6. Don’t linger. –Respect that these people are busy and they will appreciate it.

Pretty much The Ant Queen’s dialogue to Princess Atta in A BUG’S LIFE: “…they come, they eat, they leave…”

This may seem like an odd list of rules for meeting the team for a film I’m making. In my humble opinion, however, the important thing to remember is that a meet and greet is NOT a meeting. You are having lunch and shooting the shat.

That’s it.

From my POV, it went awesome. By keeping to my above rules (as much as possible), I was able to get to know the team rather than get into a complicated discussion about the contract, development notes, or embarrassing myself –too much.

The director and I enjoy the same music. The producer and I were dressed in almost identical clothes; we had a good laugh about that! When we had finished lunch (which all three of us tried to pay for) we headed off excited about THE HAAN BLADE.

The bottom line, for me, is those rules guided me through that experience.

When was your first ‘meet and greet’? How did it go? What advice would you give someone who is heading into one? Share…or perish.

Thanks for reading! Keep writing!

I ran away to Utah last week! I was able to meet with the director (David Skousen) and the producer (Sae Sae Norris) of the screenplay I am writing; THE HAAN BLADE.

It was wonderful to meet David face to face; we have only spoken on the phone. I was completely nervous but it was loads of fun! Turns out meetings face to face can be a blast!

I also got a chance to jump in front of the camera for a small photo shoot with Jessi K. Take a peek at some of my pictures from the “Punk on the Wall” shoot! Here is a taste, you will have to go to the link to see the rest!

All Photos’ are copyright of Jessi K Photography, please do not copy them without first getting her permission in writing. THANKS! Follow Jessi on Twitter!

In all it was a great trip, I ran away, networked, and played. In my humble opinion, that makes for a great week!

When was your first meeting? How did it go? Be sure and check out the pics on Jessi’s site!

Thanks for reading and keep writing!
xoxo
Amy Laurel

Cynthia Spurr (HR Writers Guild) was kind enough to interview me, regarding my organization/motivation techniques, last week. See the interview here.

Thanks Cindy! It was fun to speak with you on the phone and share ideas! That certainly re-motivated me to get working!

We’ve all had them. We mention them in passing. I had one just last Friday. It was pretty brutal. I started my day needing to just top off the last 5 pages of my selling treatment, for THE HAAN BLADE. I decided that I would just read it through to make sure I had everything there that I wanted.

ZOMG!! What is this?! Who wrote this?!

I quickly E-mail my sister for emotional support, including the treatment in an attachment. She happens to be a writing genius and younger than me, that gives me the confidence to harass her. I should mention most subject headings and messages are movie quotes and or movie quotes.

She did not reply to any of these, until the very last one. Turns out she was at a film festival, lol:

SUBJECT: Coming…Coming…
Fri 1/22/2010 7:21 PM

MESSAGE:
Sneestor,

PS: I printed it up and there are a zillion typos and contradictions, this is the not edited version. As if you can’t tell.

SUBJECT: disregard
Fri 1/22/2010 8:34 PM

MESSAGE:Ok, got that out… I’m fixing it. Will totally be done in a few hours, prob after you get home. Please don’t read the “THING” I sent you, it’s as awful as I said it was. I am improooving it.

Xoxoxoxo
Moi

SUBJECT: HA!
Fri 1/22/2010 10:16 PM

MESSAGE:
Act 2 is now on page 6 vs page 9. /sleepy

Best,
Amy Laurel

SUBJECT: if your home…..
Fri 1/22/2010 11:03 PM

MESSAGE:
Call me, I’m stuck at my midpoint. I need advice on the order of certain action.

This concludes e-mail number 9 bagillion.
Best,
Amy Laurel

SUBJECT: lol, back on track
Sat 1/23/2010 12:41 AM

MESSAGE:
Wow, I am totally stalking you. I also figured out the thing I was stuck on. I’m on page 12 of 20 in my edit. Soon, my precious.

Best,
Amy

SUBJECT: you haven’t seen any of these have you?
Sat 1/23/2010 1:22 AM

MESSAGE:
Could use a call, if you have one in you. I completely started over … a while ago, I am back to page 14 of 20. six pages. I am depleted but writing. Hope you had fun at the film festival. L8trs.

Best,
Amy Laurel

Sneestor, (yes I really call her that) called at two a.m. After laughing hysterically at my e-mails she told me to get my butt in bed and call it a day. Hello Nyquil.

When was your most recent Writers Meltdown? How did you get through it?

I have been reworking my feature, THE HAAN BLADE, and keep getting stuck in the same spot. I know why; there is something amiss with the scene. A giant red arrow may as well be pointing at it, but what’s wrong? I’ve debated removing the character introduced there, moving this scene to a new spot, and writing in the same scene with a different person. Today I reached over a dozen or more solutions to the problem, giving me a new problem, which solution do I go with?!

Time to break out the sounding board! I gave my script consultant (Sae Sae Norris) a call and told her I needed to talk through my ideas. Graciously, she allowed me to ramble and hop from point to point; ha ha, glad she charges by the hour versus the minute. I talked about the flaws in the script and my range of ideas. She gave me input as well, which rocks; pitch me my own story and I can see if I need to change it. –For reasons of ego, it’s easier for me to shoot down my idea when you say it .

Before long I had my answer (huzzah), and when we hung up I was full steam ahead and ready to get back to the keyboard!

In my humble opinion, it is important to have somebody to discuss your stories with. Someone who is a writer as well is preferable but not, perhaps, vital. This is one of the reasons I love writers groups. It’s also helpful to be the bounce board for other writers; we can apply our advice to whatever project we’ve got on the fire.

Don’t have a writers group? Don’t have a script consultant? Reach out in your network of friends and, my guess is, you know other writers. You don’t need a formal group to brainstorm your story; just one other person. Those who know me realize I love to use index cards and white boards to write out key points; but sometimes it just helps to talk it through. It’s a time saving and validating process.

Do you share your ideas with other writers? Does it help? If not, what’s stopping you? Please leave a comment, so that others can benefit from your experience in this tricky area. Go ahead, brainstorm about brainstorming with me .

It is not difficult to find a writing competition to enter, regardless of your medium or genre. It can be difficult to choose the correct work to submit, as well as which contests to enter at all. In my humble opinion, with a little research you can find not only the best choices for yourself, but increase your odds as well.

First let’s talk about choosing a competition. Most have a fee and the rewards for winning vary. As writers, we tend to have little money to play with, so you want to decide upfront what fits your budget.

I recommend that you weigh cost to enter against the reward for winning. For example, while it’s fabulous to win, if all you gain is $50 and/or publication on a website that receives little exposure; does this do you a service? The reason I mention this is simple, most legitimate competitions do not allow you to enter a work that has already been published or won in any other competition; so choose wisely.

As to improving the odds, may I suggest looking up previous winners – see what they have gone on to write, as well as who will be judging your work (when you are able). If it is clear that the contest you are considering seems to strongly favor comedies geared toward the family, you may want to hold off on your mystery or romance story. The same is true of those on the panel, do they write or speak well of a certain genre? If so, it is possible that they will be more interested in that which appeals to them.

I am not saying that a great writer can’t win against the odds; only that stacking the odds in your favor can’t really hurt.

I would also like to point out that entering competitions is a great way to get your work out there; similar to querying agents. As writers we all have many tales to tell, and it is just as important to know your audience when selecting a contest as it is when you are trying to reach your demographic or selecting an agent.

When you examine what you gain from entering versus the price you pay to enter, it should be simple enough to spot the contests that are right for you, those which ought to be avoided, as well as the contests that are outright fraudulent.

Have you entered many writing competitions? What advice would you give other writers? If you haven’t, what do you think is stopping you?

Thanks for reading and keep writing!
(image credit: nfschools.net)

“Don’t get your hopes up!” seems to be a common caution. I keep seeing on blogs, twitter and in books about writing to “Keep Trying” or “Never, Never, Never give up” and “Plan on a million rejections but keep going” right along with “Don’t get your hopes up”. Um, isn’t that contradictory? How does one keep going without the hope of success?

For example: when my man and I put in our offer on our house (we are now living in it – that’s not the “why”) the first thing everyone seemed to say was “Don’t get your hopes up!” If you have read my blog then you know my first question about everything is similar to that of a small child; WHY? Why shouldn’t I enjoy the excitement of daydreaming? Why shouldn’t I get my hopes up? WHY? It seems there are loads of reasons. However, when listed out, they can all be, more or less, summed up in one sentence:

Whatever you are hoping for won’t happen, leaving you a ruined shell of a human…FOREVER!

Hmm. It seems to me that I lived and breathed before I submitted my novel into my first competition, I certainly had motivation before I started auditioning for films/plays, I know that I got out of bed every morning before I pitched my first screenplay. So, WHY shouldn’t I enjoy the foreplay of waiting to see if I get the gig, house, or whatever it is I am hoping for? WHY?

In my humble opinion, if we can remember that life existed (and still will) if we don’t achieve every ambition we set out for on our first, second, or hundredth try then we will be happier for the anticipation – and prepared for the possibility – that things won’t always go our way. I suppose this is what is meant when people say “Hope for the best, plan for the worst and take what comes”. That phrase never really set in on me until we made that offer on our home, and now I see how it applies to everything!

To my mind, telling someone not to get their hopes up is the same as telling them not to enjoy their holiday. After all, you will have to go back to work once you get back.

Put things into perspective, and then hope your heart out that things will go your way! I suspect you will be happier for it. Go ahead, get your hopes up!

When have you gone against the grain and hoped secretly for something? Did it work out? Did you survive (hint: if you are reading this you did)?

As always, thanks for reading.