Organic Screenwriting: Writing for film, Naturally by: Mark David Gerson is a free-flowing stream of consciousness and
information unlike anything else I’ve seen in other books on screenwriting.
Gerson takes his readers on an engaging and almost meditative journey in his
approach to writing a movie.
Ideas aren’t so much conceived as they are revealed to authors. Everything from characters to plot intricacies can easily be made available but first, the storyteller must be willing to bend to the forces of the ever elusive and fluidly moving “muse stream”. Antiquated rules about what one should and should not do while composing a creative work are all but an enemy to the very creative energy a writer is trying to channel.
In an inspired line that I plan to quote often, the author states honestly “You’re a storyteller, not an engineer.”
Mark David Gerson proudly admits that he’s relatively new to the screenwriting process but, is a highly accomplished fantasy novelist and writing coach. Despite its title, this particular book has valuable lessons in it for all writers – not just those working on movies. New writers will likely develop a deeper appreciation of the importance (and inherent freedom) of getting all ideas out in the open before even giving the remotest of considerations to the editing process.
Ideas aren’t so much conceived as they are revealed to authors. Everything from characters to plot intricacies can easily be made available but first, the storyteller must be willing to bend to the forces of the ever elusive and fluidly moving “muse stream”. Antiquated rules about what one should and should not do while composing a creative work are all but an enemy to the very creative energy a writer is trying to channel.
In an inspired line that I plan to quote often, the author states honestly “You’re a storyteller, not an engineer.”
Mark David Gerson proudly admits that he’s relatively new to the screenwriting process but, is a highly accomplished fantasy novelist and writing coach. Despite its title, this particular book has valuable lessons in it for all writers – not just those working on movies. New writers will likely develop a deeper appreciation of the importance (and inherent freedom) of getting all ideas out in the open before even giving the remotest of considerations to the editing process.
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