Monday, August 4, 2025

The Eight Rules for Writing Screen-to-Print

 

You read that title right. It means screenplay writing rules for writing a book.

We live a new literary world of 140 character Twitter, personal Facebook dispatches and USA Today snappy prose. The reading audiences of the New York Times who enjoyed reading ‘literature’ has rapidly declined with their subscribers. Or to paraphrase Elmore Leonard, “Literary fiction is when they leave in the boring parts that everybody skips.”

Or to put it another way:

Literary fiction is the fiction of ideas. Its primary purpose is to evoke thought. The writer’s goal is self-expression. Any consideration of the reader—if one exists at all—is purely secondary.

Popular fiction is the fiction of emotion. Its primary purpose is to evoke feelings. The writer’s goal is to entertain the reader. Any consideration of self-expression—if one exists at all—is purely secondary.

One can still hope to write the Great American Novel but if you want to make writing your career – you have to make money. Many experts on writing agree that if revenue is what you seek, then you must write for markets – not for prosperity. Pursue a writing career not so much for fame but for fortune.

I suggest writing stories that are screen-to-print.

So how is that done? What RULES apply?

 To do that we need to talk Hemingway.

After he finished “The Old Man and the Sea,” Hemingway wrote his brother, Leichester, telling him that he did not think there was single wasted word in the book. He may be right. The story is a lean, powerful tale. So lean that it may well be the only book ever written to have very nearly every scene transposed into the film version.

So here is rule NUMBER ONE – Think movie scenes and not chapters.  Write the story in such a way as how it would look on the big screen. What I am saying is that we can all learn something from Hemingway.

He had some tips for writing well. Use short sentences, use short first paragraphs, (I would add all your paragraphs should be short, sweet and to the point), use vigorous language, say what something is rather than what it isn’t. He learned this style when working as a newspaper reporter.

If you’ve spent any time on the writing discussion boards, you’ll see that the majority of comments about writing style seem to fall into two groups. Those that believe the flowery prose of the literati is real writing and those that feel authors should write to be marketable and choose to eschew obfuscation. Now there are those who believe that paragraphs and even pages of narrative are necessary for successful story telling.

I don’t.

Which brings us to the next set of rules writing Screen-to-Print.

Rule NUMBER TWO. Show. Don’t Tell. Telling is abstract, passive and less involving of the reader. It slows down your pacing, takes away your action and pulls your reader out of your story.

Showing, however, is active and concrete – creating mental images that brings your story and your characters — to life. When you hear about writing that is vivid, evocative and strong, chances are there’s plenty of showing in it. Showing is interactive and encourages the reader to participate in the reading experience by drawing her own conclusions.

Dan Brown’s ‘The Symbol’ suffers from the fate of telling not showing. One critic said he could have cut out 20% of the narrative or chapters and it wouldn’t hurt the story.

So, why is’ showing’ so important to Screen-to-Print?

90% of a screenplay is ‘showing’ – that is, dialogue. There is very little narrative in a screenplay. Very little telling. Except for a few short paragraphs before certain scenes to paint the environment and the mood of the characters, the vast majority of a screenplay is dialogue.  The dialogue tells the story.

You have to tell the story through dialogue.

Rule NUMBER THREE. Start your scene in the MIDDLE of the action or start with a dialogue as frequently as you can. A novel should start off by drawing the reader into it right away and give them a hint of mystery of what is to come.  I use the device of Prologue in my novels to do this.  This breaks another cardinal rule. Editors and publishers claim they don’t like Prologues. I think they can be used to grab the reader’s attention before the actual story starts.

‘Show-Don’t Tell’ types of stories are looked down upon by the literati but I believe that today’s reader – the USA Today and Twitter generation – is not looking for tombs of literature but a quick and entertaining read. Even Michael Crichton honed this down in his later novels. His books were written is such a way that they could easily be turned into screenplays.

There are times where several paragraphs of narrative are necessary to get the story out but always ask yourself first, “Can I SHOW this information instead of TELLING it – and WHEN can I do it?”

Rule NUMBER FOUR. Try to create friction, tension or conflict in every scene – good movies do that. One of the most important elements is the use of conflict and tension.

To quote Tina Morgan:

“Inserting conflict into your novel is not quite as simple as inserting a fist-fight into the storyline. Conflict in fiction can be as diverse and as individual as you are. It can also be used effectively to heightened tension and increase suspense.”

Is your character in enough danger from one chapter to the next? Danger can take many different forms. The easiest and most obvious is the physical danger. Don’t forget to use emotional danger. You as the writer have a moral responsibility to torture these characters as much as you can. Pile on the emotional danger along with the physical.

Analyze a movie – any movie. The best ones that hold your attention are those that know how to put conflict and tension into EVERY scene – even those used for exposition. You know — those boring scenes necessary to get information out.

Don’t leave a finished chapter – or what I call scenes – without re-reading it looking for the inclusion of conflict or tension.

Rule NUMBER FIVE. Write conversationally and kill the semi-colon. Write like you speak – ‘style’ be damned! Or in the words of Dorothy Parker:

“If you have any young friends who aspire to become writers, the second greatest favor you can do them is to present them with copies of The Elements of Style. The first greatest, of course, is to shoot them now, while they’re happy.”

Rule NUMBER SIX. Plot of course drives the story. But what drives the plot? Characters do. In general, you come up with a story idea. Then outline the major plot points that unfold your story idea. This is called a wireframe of your story.

Character behavior drives plot, which drives character behavior. So your next step is to hang the character experiences and behavior on the wire frame of the plot aiming for the sequencing of their experiences to match up with the overall scenes of the plot. If you’re able to do this, then you have a story. All you need to do is fill in the details of each scene.

Rule NUMBER SEVEN. The reversal or the All-Is-Lost-Moment.

Watch movies as they moves along. There is a point where the story is working fine for the hero or heroine – then BAM!!  Everything goes to hell for the main character! Two-thirds through the movie there’s this reversal. You can see reversals in romantic comedies too. In fact they are almost always there.

Everything seems to going the hero’s way when all of a sudden, a sub plot appears that threatens to send the hero and his objective into the crap can.

Another example of this is the All-Is-Lost-Moment where it looks like everything is lost. Then the hero resurrects himself. This challenge if faced and the movie then hurtle to its climax. This is important in a novel, too. This challenge if faced and the movie then hurtle to its climax.

Rule NUMBER EIGHT. The Dismissal. Have you ever read a story, following a character through the pages then – they disappear! The reader asks,” What happened to that guy or girl?” Except for the characters that are used one time in a story, your other characters need to be dismissed – that is – have their activities come to a satisfying end. You can’t leave them hanging out there. You need to end their lives or finish their relationships. If you thought out each of you continuing character’s role in moving the plot forward, you will ensure that you have a logical plot structure.

So there you go. Follow these EIGHT rules of screen-to-print and you will have a very readable and enjoyable story where the reader will feel his or her investment in time and money were worth it.

And if you’re up for it – you have a ready made screenplay from your book.

This post is contributed as a Guest post By Author Frank Fiore

 

Thursday, June 19, 2025

15 Writing Tips from a Professional Editor

 Everyone approaches editing a little bit differently, but here are a few common things she always keeps an eye out for.

Let’s take a look at what they are.

1. Editors often expect writers to not accept a lot of the changes they mark within a document.

“We’re not grading a test; we’re flagging inconsistencies and potential errors to make sure they’re intentional. If you’re cool with 85-90% of my edits, I’m ecstatic,” she said.

2. If you self-edit, learn the ins and outs of a style guide such as AP or CMOS.

You’ll write more efficiently when you don’t stop to think about Oxford commas or whether that compound word should be hyphenated or fused.

3. Use only one space after a period or other punctuation.

“Two spaces are as dead as the printing presses on which they originated,” she said.

4. Put in the extra thought to avoid jargon and clichés. It’ll make your work more precise.

5. A “from” needs a “to.” No exceptions, not even when writing the time of an event.

6. “Since” and “due to” are not great synonyms for “because” or “because of.”

Colloquially, sure—but not in professional writing.

7. Refer to a government, a company, or a partnership as “it” and use a singular verb.

(The singular “they” is awesome, but it applies to people.)

8. Most words—including job titles, department names, and specialized technology—don’t need to be capitalized.

“A lot of capitalization orbiting out there on the web is meaningless unless you’re entering a password. There, I said it.”

9. Using simple language isn’t for the sake of your audience’s intellect; it’s about respecting their time.

10. Contrary to what the Bachelor franchise would have us believe, “I’s” is not a word.

To show compound possession, use “my”: “Britney’s and my first date.” If that feels awkward, swap in “our.”

11. Items in a list should share the same grammatical form.

This is called parallel structure, and it’s jarring when people get it wrong.

12. Em-dashes and en-dashes got their names because they’re, respectively, the same length as “m” and “n.”

Don’t use either one when you should use a hyphen, and vice versa.

13. Accuracy is currency.

Be credible with your sources or risk breaking the reader’s trust.

14. Grammar is more subjective than you might think.

Good editors understand nuance.

15. No one will read your work as closely as your copy editor.

(Well, except maybe your mom.) Relax and enjoy the attention!

Hope these tips are as helpful to you as they were for me!

And remember: Don't take edits personally.

When you work with an editor the goal is to produce the best possible piece. You're on the same team; not opponents.


 

From: https://www.kaleighmoore.com/blog/2021/6/24/15-writing-tips-from-a-professional-editor

Monday, September 23, 2024

New book from Saguaro Books, LLC

 

With Damian and his men closing in, Kiara and her family frantically hunt for another entrance to Emeraldo. Unable to gain access, they find refuge in Sapphira, another of the underground cities. To their horror, Sapphira too has been infiltrated. When her emerald begins to weaken, a desperate race to recover emeralds stolen from Emeraldo results in an unforeseen disaster.

Tuesday, May 28, 2024

What are some ethical considerations of machine-generated content?What are some ethical considerations of machine-generated content?

 

Huiling Ding
Professor of English

AI-generated content, be it texts or artwork, introduces many ethical challenges related to authorship, copyright, creativity, plagiarism and labor practices. For instance, text-to-image AI generators like Midjourney and DALL-E 2 use images available in the public domain and/or images available online through Google search, Pinterest, and other image-sharing and art-shopping platforms as training data for their algorithms.

By supporting text-prompt-driven image creation, these AI generators then produce artwork that can imitate individual artists’ styles. In doing so, they compete with if not displace artists who have spent decades improving their craft. 

AI-assisted writing faces similar challenges in terms of transparency, explainability, plagiarism and authorship attribution. Using online texts as training data, AI writers such as GPT-3 can generate original summaries and syntheses based on existing content. 

Traditional writing classes are disrupted by these AI tools, which speed up and automate the process of online research and the summary and synthesis of reference materials. Students can easily copy and paste AI-generated content as their own written work without being caught by plagiarism-detecting tools such as Turnitin.

In other words, natural language generation tools such as GPT-3 transform how we detect and define plagiarism. That, in turn, calls for new research and adaptation from writing instructors and scholars. 

Outside the classroom, professional writers and businesses use AI content generators to create preliminary ideas, generate quick summaries of online publications, write stories and engage with customers in chatbot conversations.

While famous artists such as Greg Rutkowski may feel their rights infringed by AI art generators, other artists are using AI-generated art for inspiration. In the content generation marketplace, these AI tools can compete with writers and artists or can be used as human-augmenting tools to help writers and artists produce content more creatively, efficiently and collaboratively. 

From: https://chass.ncsu.edu/news/2023/03/27/how-is-ai-changing-how-we-write-and-create/



Monday, May 13, 2024

Are There Genre-Specific Page-count Requirements?

 


Young Adult (YA) Fiction: YA novels typically have between 55,000 and 80,000 words. John Green's The Fault in Our Stars is a well-known example, with about 67,000 words.

Romance: Romance novels often fall between 70,000 and 100,000 words. Pride and Prejudice, by Jane Austen, has approximately 122,000 words, though it's longer for the genre.

Mystery/Thriller novels usually have between 70,000 and 90,000 words. Agatha Christie's And Then There Were None is about 60,000 words. The Girl with the Dragon Tattoo by Stieg Larsson is approximately 175,000 words. While longer than the typical range, this book is a popular example of a modern mystery novel.

Science Fiction/Fantasy: These genres can have a broader range due to world-building elements, typically between 90,000 and 125,000 words. The Hobbit by J.R.R. Tolkien has around 95,000 words. Other examples include The Golden Compass by Philip Pullman (112,815 words) and Ender’s Game by Orson Scott Card (100,609 words)​​.

Literary Fiction: Literary fiction can vary widely, but is generally between 80,000 and 100,000 words. For example, To Kill a Mockingbird by Harper Lee has about 100,000 words. Other examples include The Unbearable Lightness of Being by Milan Kundera (85,199 words) and Song of Solomon by Toni Morrison (97,364 words)​​.

Historical Fiction: This genre often requires more words to build the historical setting, with typical word counts ranging from 90,000 to 120,000 words. The Book Thief by Markus Zusak has around 140,000 words.

 

Nonfiction: The word count of nonfiction books can vary greatly depending on the subject matter, but they typically range from 70,000 to 90,000 words. Malcolm Gladwell's Outliers has about 70,000 words.

Memoir: Usually between 80,000 and 90,000 words; Educated by Tara Westover is around 100,000 words, which is slightly above the typical word count range but has been well-received by readers and critics alike.

Western Fiction: Typically ranges from 45,000 to 75,000 words; Lonesome Dove by Larry McMurtry is roughly 365,000 words. This epic Western novel far exceeds the typical word count range but is considered a classic in the genre. True Grit by Charles Portis is about 60,000 words, a well-known example of the genre.

Erotic Fiction: Short Story: In the realm of erotic fiction, word count guidelines can vary, with short stories typically ranging from 1,000 to 7,500 words for quick, steamy reads, novelettes spanning 7,500 to 20,000 words to allow for more character and plot development, novellas falling between 20,000 to 50,000 words for complex storytelling, and full-length novels ranging from 50,000 to 100,000 words to explore intricate narratives and themes.

These are general guidelines, and there are always exceptions. It's important to focus on telling the story effectively, rather than strictly adhering to a specific word count.

Find much more at https://badredheadmediallc.substack.com/p/optimizing-word-counts-for-writers?fbclid=IwZXh0bgNhZW0CMTAAAR1RLQsxmkiAMVcf92anm7tvWP8crw91Q0im3V-wk1K7FT0CNfWtvk6-RQ8_aem_AVjjELM26h1yigK-HwNwsgmtFw9wbozoJCMiUuGsDclh4MxDfE8sVZ2EeR2K7MpSaQIkx4itC6aP83M39cBuPu62

Thursday, April 25, 2024

New from PTP Book Division an Imprint of Saguaro Books, LLC

 Valencina, the Ivory Woman

 

Yes, the Ivory Man was really the Ivory Woman. Now that has been established, where did the precious, unusual burial goods come from? How and why did she accumulate them? Valencina was a woman who led hunting forays in early life and continued to lead during her entire life. How did she, a woman in a male world accomplish this? Read this story and find out how Valencina may have been a success in a male dominated world.

 

 

 

Author Bio

 Mary Jo Nickum is an award winning author. She has published a chapter book, three young adult novels and eight reluctant reader books for high school science students.
She is a retired professional librarian and an English teacher. She lives with her husband, John, in the Phoenix, Arizona