Your imaginary benefactor’s eulogy glorified the dedication, the passion and the sacrifice with which words were capture to the page. Words, which in a unique style, voiced muses, meanderings and observations on life. Words which were this aspiring playwright’s most valued possession. Words which, for whatever reason, you now own!

Every writer has experienced the curse of an untold story. Haunted by one’s own ideas is aggravating enough. But to be reminded of a legacy-in-waiting at every family function is insufferable. What were once whispers of time ill-spent, have gossiped into a responsibility to the family name. ‘It’s a shame to think that the only credits her work earned were in her will’ will shadow you when all you want is more potato salad.

Whichever befits your character, a stoic answer to the call of duty or a dramatic capitulation with arms in the air, be prepared for the onset of reality. Your pen has just written promises it can’t keep. If you’re a writer, time is already rationed amongst personal projects. On the other hand, if you’re ‘narrative challenged’ (as she was) the task is a bit more foreboding.

So . . . who ‘ya gonna call? Ghostwriters!

Don’t dismiss the idea too fast. Appreciate that ghostwriting has been a guiltless yet respectable option for centuries. For as long as there have been speeches, memoirs or sequels, writing has been outsourced. The cultural handiwork of ghosts has not been limited to literature. Music and painting have a history of contributions by ghosts as well.

Does it honestly matter that ‘co-authored by’ or ‘as told to’ appears on the jacket, as long as the story is engaging? Odds are the book is better on account of it.

At the next visit to your favorite online bookstore, make a point to browse the memoirs. Much of the work has been penned on the condition of anonymity. Ask yourself these questions: ‘Do you really think as many were self-written as claimed?’ ‘Is it reasonable to assume that celebrities and sports figures whose success resulted from a lifetime of practice, were suddenly as equally adept at being proficient authors?’ Picking up a scalpel would be beyond belief, so why isn’t a pen?

In the publishing and film industries, ghostwriting is ubiquitous. The Development Editor identifies extensive revisions necessary to make a manuscript marketable. On a larger scale, teams of unnamed professional writers do the same to major Hollywood releases. A script reversed from the finished production would rarely resemble the original.

Don’t let partial notions prevent further consideration of ghostwriting when you cannot do it yourself. If a qualified writer can be found at an acceptable price, is it not worth it to break the curse and free the story?

Assuming the decision to proceed, the next step is to find one. Rather than searching ‘ghostwriter’, post the writing project on a freelance database. The first approach will list services charging $10K to $30K and the project will have to fit into their schedule. The second will return multiple bids ranging from $500 to $1000 from an international wealth of eager writers.

At these rates, your scribe will be scrambling. Consequently, even the most efficient writing can hide serious problems between the lines. It may be bland without inspiration. Characters may be stereotypical or weakly drawn. Backstory and exposition may be information dumps disrupting story flow. The style may be rift with distractions causing the reader to disengage. The potential for flaws is considerable. Therefore, expect to dedicate some time for editorial review. Lean on friends and family to critique it as if it were your own. Use a standardized critique from writing sites or an editorial filtering service.

Before posting a project description, understand the differences between a screenplay and a manuscript. Any screenplay, even one nominated by the Academy is not publishable as a novel. Few people would purchase a copy of a screenplay for a good read.

Other than the directing instructions, the story content of a screenplay is essentially a subset of a manuscript. Both have a hook, characters, dialogue, a problem, a goal, conflicts, a climax, character growth and an ending. In addition to this, the manuscript has narratives which elaborate on the setting, the backstory, the characterization, the action and the emotional depth. Without these, a screenplay is mostly dialogue. In a manuscript, dialogue typically comprises 40% to 60% of content.

Therefore, the project is basically to approach the dialogue of the screenplay like the plotting or the skeleton of the story. To this, narratives consisting of the missing elements are fleshed or layered in.

The project description also has evaluation and promotional components. It is appropriate to request a sample chapter on spec, as well as, a pitch, a synopsis, and a logline.

As the bids trickle in, the evaluation process resembles the role of an H.R. dept. Desirable skill-sets include the abilities to:

The ability to negotiate will depend totally on the number of the bids. Concerning quality, there are no guarantees at any price. One tactic, however, can hedge your investment. Try to negotiate a progressive payment agreement. Request to have performance advances released upon remittance of predetermined chapters/pages. If the writing does not meet expectations at pre-established milestones, no commitment to continue will exist.

A second tactic to enhance the caliber of writing is to fully disclose collaboration with the term ‘co-author’. With the ghost’s name on the jacket, more effort will probably be invested. The glory or celebrity given up in exchange is fleeting anyway.

Finally, offer splitting any proceeds 50/50. Few experienced writers will accept projects on spec. If a talented novice does, it may motivate writing as if it were for a bestseller.

The services of a ghostwriter is worth considering whenever a story is trapped in a screenplay and either time or ability is scarce. If the screenplay is your own, don’t leave it until the reading of your own will. Forget about naming beneficiaries because of interest once expressed in your writing. They’re family. They were just being polite. Do it yourself while you’re alive. Let them enjoy the potato salad!

Joyce Carol Oates. Langston Hughes. Anne Sexton. F. Scott Fitzgerald. Nikki Giovanni. The names of authors (dead and alive) can go on and on. But I’ll let you have first pick!

You are in a room with some of your favorite authors. About ten of them. However, you are only allowed to invite one of them to Starbucks for a couple of chocolate mochas. Just you and your favorite author. It doesn’t matter if the writer is deceased—use your imagination! After all, you’re a writer, right?

Oh dear, who shall it be? Should it be William Shakespeare with his purple pantaloons; Sylvia Plath who now vows to use an electric oven instead of gas; or should it be Maya Angelou and old playmates from her broken-hearted brothel?

Finally, you have selected an author.

You take him (or her) to Starbucks. You order the mochas. You sit down. As you open your mouth to ask the author questions nothing useful comes out.

What’s the problem?

Often times we’ll chance upon moments when we can interview an author. And, with technology nowadays, methods of research and brainstorming have changed slightly.

1. Research the Author

Ask yourself, “Is the author self-published or published in a traditional publishing house?”

Actually, does it really matter?! No. Why? Because you’re going to need to treat all authors the same—with much respect. Be laid back, and in turn, the interviewee will become comfortable and open-up to you.

After all, whether published or not, we’re all human. Before the interview, however, use your investigative reporting skills and attempt to discover as much as you can about the author. Surf the Internet for any hidden agendas internet-published writings the writer may have. Not only do you want to know about the author’s book, but the personal life as well. Find out what makes the author tick.

2. Research their genre and subject matter

Does the author write poetry? Historical nonfiction? Dramatic nonfiction? Children’s literature? Discover how easy or difficult it is to publish in that particular area of writing. Before you meet up with the author, you must know their genre, as well as the basic themes. If the author writes only historical nonfiction—what’s their subject matter? Pre-civil war? Early African Slave Trade? Cuban artwork? Compare and contrast authors in similar subject matters.

Learn as much as you can while you can. And, at the same time, be sure to formulate an opinion about the subject matter, whether it be pro or con. This will allow you to ask more in depth questions.

3. Don’t Interrupt

Remember to ask your question then shut up. This isn’t a time for you to reminisce of your (waning) writing skills. This is moment for the author to be in the spotlight. Listen to their responses, and make sure that you have a rebuttal question prepared in the back of your head.

After you are away from that particular topic, be sure to go to your next question. Though you may have your list of questions—it’s okay to ask the questions out-of-order. Actually, I highly recommend to adlib the questions. This will make the questions seem a bit more unforced. In short, treat your interview as if it’s just a regular discussion amongst friends.

Above all, I highly recommend to record the interview. Before you display your trusty hand-held recorder, ask the interviewee for permission to record them. Keep and label all used tapes with the author’s name, date and location of the interview. You never know when that once self-published novelist will become the next Best Seller.

This article examines a few of the many techniques outlined in “Secrets of Film Writing” and provides examples of screenwriters who succeeded with Tom Lazarus’ guidelines.

ORGANIZATION IS KEY
Master organization and you’re closer to producing a stellar screenplay, not a mediocre one. Ask yourself these questions:

1) Does the screenplay have a clear beginning, middle and end?

2) Does the story drift aimlessly or does it make its point successfully?

These may seem like basic questions, yet many screenwriters grapple with organizational problems.

Lazarus addresses this issue in his book; he recommends writers use one of four organizational methods to ensure their screenplays flow smoothly: outlines, treatments, index cards, and scene lists. All four of these tools are equally effective. Writers need to be discreet to decide which organizational crutch best suits their needs.

In writing the screenplay for the Hollywood feature film “Stigmata,” Lazarus chose to use a scene list for organizational support since he already had specific ideas about the chronology and action details of his story. To writers who have difficult organizing and prefer a different method, Lazarus says, “Go for it, because no one is going to see it. It’s a process. There is no wrong way.”

MAKE IT INTERESTING
Writing is a process. Great screenwriters take creative risks. Without an interesting story, even the most organized screenplay will be unmarketable. The goal should never be to copy another writer’s style; instead exercise your own imagination and experiment with different ways to spark your story.

When Warner Brothers hired Tim McCanlies to adapt Ted Hughes’ famous English novel “The Iron Man” for the screen, he struggled with whether he should remain true to Hughes’ vision or develop a new story based loosely on the original book’s events. McCanlies chose to do something risky and wildly creative; he Americanized “The Iron Man” by setting the story in the 1950s during the Cold War terror and renamed it “The Iron Giant.” His calculated risk proved worthwhile. American audiences related to the film and appreciated its examination of an unusual time in their nation’s history. Also, English audiences embraced “The Iron Giant” despite its variation from the original English text and awarded it the 2000 BAFTA Award for best feature film.

McCanlies’ success lends a valuable lesson: when you risk nothing, you gain nothing. McCanlies, Lazarus, and other successful screenwriters embroil themselves in chances, write creatively, experiment with different ideas, and raise their characters’ stakes.

SUBMIT YOUR SCRIPT LIKE A PRO
Once you have written an interesting, well-organized screenplay you need to submit your script neatly and according to studio standards. Lazarus warns his UCLA students about several technical errors in script presentation that annoy studio readers. Follow these guidelines:

1) A feature length screenplay should be longer than 95 pages and shorter than 125 pages when you submit it for studio consideration.

2) Don’t include a synopsis or character biographies with your script as it gives studio readers an excuse not to review the whole screenplay.

3) Don’t put scene numbers on your script until it is sold. This is a rule of the game; readers find scene numbers distracting and use them as an excuse to dub a screenplay “amateur” and unworthy of further consideration.

4) Studio readers prefer to receive scripts bound with circular metal brads. Using folders and binders hog office space and interns may discard scripts unintentionally during spring cleaning.

5) Finally, use one of the many screenwriting programs to help format your script, such as Movie Magic Screenwriter, Final Draft or Script Wizard. You can find discounted deals at StoryScribe.com (http://www.StoryScribe.com).

Make sure you proofread your script several times before submitting a script for Hollywood review. Busy studio readers will not peruse screenplays riddled with basic errors like confusing “it’s” with “its” and using “are” when you mean “our.” Use a program like Style Writer (found at http://www.StyleWriter-USA.com) to remedy such embarrassing grammar mistakes. When you’re ready to submit your script, grab a Hollywood Creative Directory (found at http://www.storyscribe.com/mgbooks.html) to find markets for your script.

THINK SUCCESS AND BE A SUCCESS
Remember to take risks with plot and character development, and follow studio standards for script submissions. Studying resources like “Secrets of Film Writing” by Tom Lazarus, “How Not to Write a Screenplay” by Denny Martin Flinn, “Crafty Screenwriting” by Alex Epstein, and “Alternative Scriptwriting” by Ken Dancyger and Jeff Rush can be helpful for aspiring writers. Developing strong writing skills takes time, a willingness to learn, and perseverance. Writers who constantly improve their skills and experiment with new ideas will succeed.

Sponsored by Precise Edit and Writer Watchdog (http://WriterWathcdog.com).

What winners receive:

Two writers will receive, at no cost, Precise Edit’s manuscript and review service. We will read the book critically, prepare detailed recommendations, and offer advice for improvements.

Who can enter:

Writers with fiction or nonfiction manuscripts and are either seeking publication through traditional or non-traditional means. The final word count of the manuscript must be at least 50,000 words. The manuscript does NOT have to be complete to enter. However, if you win, you will need to finish the manuscript before we can provide the review and analysis service.

What others have said about this service:

How to enter this contest:

Visit the Precise Edit blog at http://preciseedit.wordpress.com. In the comment field for the post about this contest, answer the following questions:

1) What is the book about? (3-8 sentences)

2) Fiction: What is the central conflict? (1-2 sentences); Nonfiction: What is the central theme or purpose? (1-2 sentences)

3) Who is the target audience for the book? (1 sentence)

4) Why will this audience read your book? (1-3 sentences)

You may enter through December 31, 2009. Make sure to use a valid e-mail address when posting your submission. We will send you a unique entry number to identify you later in case you win. Your entry will be disqualified if you do not adhere to the above entry requirements. Questions? E-mail Precise Edit owner and chief editor David Bowman: info@preciseedit.com.

How winners will be chosen:

Think of your entry as a publisher query letter. We will evaluate each component of the submission and select the two that in our subjective opinion have appeal, demonstrate understanding of the target market, and have a clearly defined, engaging, and substantial conflict or purpose.

We will make and publish our choices on January 4, 2010, and we will e-mail the authors of winning entries to arrange for their free service.

What non-winning participants receive:

If you don’t win the free Manuscript Review and Analysis, but you decide you want the service, you can get it at a 20% discount just for participating. Entering this contest in no way obligates you to receive any services or engage in any contractual or service agreement with Precise Edit. (The normal price for Manuscript Review and Analysis is $1.50 per page. Non-winning participants who wish to contract for this service may receive it for $1.20 per page. For example: 200 page book x $1.50 = $300; 200 page book x $1.20 = $240.

The not-so-small print:

1) The author maintains all rights to and ownership of the manuscript he or she delivers to Precise Edit for services, either as a winning entry, or as a manuscript for paid services. Please see the Precise Edit privacy notice posted on the Precise Edit website: http://preciseedit.com/Info/Privacyagreement/tabid/104/Default.aspx

2) Winners by default will allow Precise Edit and its representatives to publish or otherwise disseminate their names, manuscript title, and synopsis, similar to that which is posted in submission to this contest. No other contact information (e.g., phone number, e-mail address, mailing address) will be made public, nor will the manuscript be distributed by any means, as noted in the privacy policy. The Precise Edit privacy policy will be in effect for winning entries, other than the information noted in the first sentence of this item.

3) We will not accept manuscripts that promote racism, hate crimes, or violence. These elements may be included in the book, but the book should not espouse them. Erotica is acceptable; pornography is not. All other fiction and non-fiction manuscripts are acceptable. We will not accept poetry.

4) In the event that this contest receives fewer than 20 entries, we may choose, at our discretion, to select only one winning entry.

5) We will accept no entries for this contest by any means other than the process described above.

6) Please note that all entries will be public inasmuch as they are made through the public comments of a public weblog. You accept all risk and liability that may arise out of your participation.

7) If you have difficulty making your contest submission, please contact us for assistance.

Last note:

We look forward to receiving your contest submission. Best wishes to all who participate.

Call mental exhaustion what you will: dead head, study head, sleepy head, brain drain. It’s the numb feeling that swells deep inside the cavity your brain. I know the feeling firsthand. As a Radio-TV-Film major attending college, I get it nearly every waking moment on the day before a due date. One of my rituals is writing screenplays, and I really can’t stress to say how often “brain drain” happens. It sneaks up and jabs you square in the skull; and in next to no time you’re about ready to collapse in the throes of Dreamland. It’s as if you were blackballed down a blind alley.

It happens, like that, all the time.

My efforts to combat the problem surfaced only recently, and I say this to emphasize both the ease and the probability of a “cure.” Mental exhaustion sweeps in during times of increased study and concentration. Stress may be a factor, but it surly is not the only cause. As a writer, brain drain always hit whenever I pushed myself to overcome a bout of writer’s block. I would focus intensely for hours at a time. And like an unseen cloud overhead, it would enshroud my skull. My natural instinct would be to plop my head face-down atop the table. The day would go swirling down the drain by the time I woke up.

Needless to say, mental exhaustion can really sap the time out of the day. It may even lead to depression and increased anxiety, but hey, I’m no psychologist. I’m a student, and what I do know is that it’s a big time killer. Sitting down with an open book but a closed mind has to be one of life’s biggest frustrations.

The obvious causes for this kind of dysfunction stem from a lack of sleep and a proper diet, at least for me. Think of your brain as having its own gauge. When you put the pedal to the metal and concentrate in full throttle, the rational diagnosis is that the gauge steadily drops to zero. From that point onward, you’re just grinding gears. To no surprise, the body needs nutrition and rest. Deprive yourself of those two vital components and, well, your influence over your own body will gradually slip away. It’s not a matter of ridding yourself of this mental exhaustion; but on a broader scope, it’s a matter of regaining control over your body.

Good sleep does not necessitate the amount of time slept. It is about knowing your body’s own biological clock. I discovered that not only did I wake up earlier the sooner I went to bed, but I also felt more refreshed throughout the day. Think about it: how much time do you spend awake versus sleep? The two should work toward an ideal balance; otherwise, a large chunk of sleep after a long and tiresome day does not restore the balance. The bottom line is this: a long day that was spent half asleep (we all know those kinds of days), met with an overdue long night of sleep, will not equal a refreshed tomorrow.

Besides taking up a better diet, the other solution is to practice a better study routine. Breaks may seem unprogressive to a study session, but in actuality they are invaluable. Your brain, like your legs, cannot run for so long without slowing down or sitting completely.

Of course, just remember the difference between a break and a distraction…

Most critics agree that classic detective fiction rose from the pages around 1841 when the famous Edgar Allen Poe wrote the story of The Murders in the Rue Morgue. His character, Dupin, is able to solve the crimes that were unable to be solved by the police thereby paving the way for future detectives to come along and do the same. He created the dazzling detective who attempts to solve the perplexing crime and the aloof colleague (or friend) who records every bit of the case in detail. The police, of course are lost. They appear to be unsure of which road to follow and by the end they are completely astonished as everything is laid out before them by the hero (the detective).

After Poes discovery and subsequent tale, there were many attempts at successful detective fiction but none were notable until Recollections of a Detective Police Officer by Waters. At this point, the stories had become almost unreadable since there really was no literary attempt. The end to hack writing came in 1859 when Wilkie Collins The Woman in White forced other writers to show some sort of a literary effort to be able to compete. The other notable novel that followed in Collins footsteps was Hugos Les Miserables (1862) which is still immensely popular in theatre today.

Novels such as this were published for years, giving the public reason to believe that there would never be an evolution of the genre. However, in 1887, Sherlock Holmes emerged from the pages of Beetons Christmas Annual. Unfortunately, the original story did not take off at first. The intricate character had seemed doomed to fade into the pages and be lost forever. Four years later, in 1890, Lippincott picked up Doyle and put him on contract to write more Holmes stories. Strand magazine also began publishing Doyles detective stories. This is when the craze began. The first stories were combined into a book to form a series. The Adventures of Sherlock Holmes was enormously successful, and so was the following series, The Memoirs of Sherlock Holmes, even though Doyle made a decision to kill of Holmes in this series. Of course, since this was now a very popular character, the death of Holmes generated anger and protest among the public. The demand for Sherlock Holmes was greater than ever. Although Doyle obviously did not want to do it, he was finally forced to bring the character back to life around 1905 to appease both the public and the publishers.

This character and the cases that he participated in changed the way that detective fiction would be written from then on. Doyle is now considered to have paved the way for the Golden Age of Detective Fiction.