it’s good to be well-informed when writing fanfictions and such and i hope this helps u guys out!!!
This is seriously one of the most inspiring self-publishing stories of success. If you’ve never heard of Amanda Hocking, or even if you have, you need to read this blog post. This is the kind of thing that we dream of happening, fellow authors! It is so encouraging to read about her success.
Firstly, this assignment actually sounds awesome, so you should take your time with it and have fun. And, of course, we’re here to help!
Let’s start with the book. The Lovely Bones is a great book, I remember feeling very emotionally attached to the characters when I read it and I think I had the whole thing finished in three or four days. A good place to start would be to think about your reaction to the book: what about it makes it your favourite book? What are your favourite parts? Which scenes do you think are the most important in telling the story? Take some paper and write down your favourite scenes. (Even though you won’t be adapting these later scenes, it’s always important to have an end goal in sight). Let’s say your favourite scene in the last half of the book is when Lindsey and Samuel find that old house in the woods and decide to live there. If that’s your end goal (even if it’s not the most pivotal moment in the book) then you have something to work towards. You can include more of Lindsey in your screenplay to insinuate she is going to be a major character. You can show her dissatisfied with her home after his sister’s death. You can use prolepsis as a writing technique.
One of the most important aspects of adapting a book to a screenplay is knowing when to cut. Unfortunately, this will happen. You cannot include every single detail of the book, you simply won’t have the time. So you need to decide what to cut and when. It is possible, of course, for you to end the screenplay (I know you’re only writing the first chapter but I’m talking in general terms) completely different from the book, depending on your relationship with the author and producer and what everyone wants. My Sister’s Keeper has a completely different ending in the movie than it does in the book. It couldn’t be more different. The movie is still fantastic (I love them both) and it does a great job of adapting such an emotional story. However, it cuts out characters who had major storylines in the book, it changes family dynamics, and it writes a totally new ending. So consider what will be different about your screenplay. You can’t include every tiny detail from the first chapter, so work out what can be cut, what can be summarised, and what absolutely needs to stay.
Read the first chapter over and over. Make notes. Write down lines of dialogue that you just love. I don’t have the book to hand, but I know it’s written in first person narration, so maybe write down chunks of narration that you want to keep, but be aware there will be parts of the narration that you need to cut or combine. This chapter is the most important in the book, this is where Susie dies and we as the reader get to uncover the mystery of her death. This is what the whole book is about, so it’s going to be pretty important that you get the events right. Stick to the same storyline, but find ways of cutting dialogue and combining scenes that give the same information. (I.e instead of showing each family member individually overcome with grief, have them all attend a funeral.) Always be considering what is and isn’t possible in a movie. Books can venture it’s places that movies can’t.
Now obviously, there is already a movie adaptation of The Lovely Bones. I haven’t seen the movie, so I don’t know how good of an adaptation is actually is. My advice would be not to read the screenplay. I’m going to assume you’ve seen the movie, and that’s fine, but try not to think too much about the movie other than the ways in which you would do things differently. Just because the movie includes a particular scene, that doesn’t mean you have to. Keep your material fresh and decide whether you want to stick directly to the events of the book, or if you want to turn things around a little. Either way, don’t just copy the movie.
Once you’ve decided where you’re going with the script (your end goal), how you’re going to get there (what events will cover the story) and why you want to get there (will this be entertaining for the viewer?) then you can start writing.
Here are some links for further help, as I realise that my answer is more a discussion of adaptation rather than a direct how-to.
I hope this helps! Do let us know how you get on with writing your screenplay, and when you’re finished you can always submit it to be workshopped for free. Good luck!
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#this line out of context seems like an excerpt from the kinkiest fic your ever had the privilege of stumbling across#this like IN context also sounds like that#I’m sorry this is straight up the most sexually complex proposal ever heard in a so-called kids film#IN ANY FILM#i could write essays on the consent dynamics that this implies and the delicious world of possibilities it implies#for a grown up Sarah should she decide to revisit later on her own terms#(which is the only way Jareth would have it any way - hence the emphasis on her needed to choose)#(over and over and over)#left or right up or down stay or go take the crystal forget the baby look what I’m offering you#but none of it means a thing unless she chooses it#he’ll rig the game as far as he dares but when the message comes that the girl is at the gate on her way to get Toby#he’s genuinely scared - call out the guard! take the baby and hide it! - because he knows she is a danger#he’s an all powerful probably immortal wizard and king - but he knows that her choice is the pin that can undo him#KIDS MOVIE(harrietvane)
We the generation who grew up on this movie turned out to be an interesting bunch of people, let’s put it that way.
Mildly amused to see any images of Mr Bowie from this movie that manage to stay above his waist…
FUCK THE BABY i’m accepting that proposal