Can You Really Sell Your Writing Output On Radio?

Written by Jim Green


Continued from page 1

3.Visitrepparttar corporate website containing links to all subsidiaries;

4.Pick out those stations within a 500/1000 mile orbit;

5.Visit each local station website individually;

6.Scanrepparttar 128695 daily programming schedules;

7.Highlight those shows that might identify withrepparttar 128696 topic of your book;

8.Noterepparttar 128697 presenter’s name;

9.Email him/her with a well-couched request for a live interview;

10.Follow that up with an identical snail mail request;

11.Follow that up with a telephone call (you’ll get to speak to someone in authority);

12.You know your topic inside out; speak up with confidence and you’ll get your interview; maybe not straightaway but, if you sell yourself and your project professionally, you’ll be logged into and up-and-coming slot inrepparttar 128698 station scheduling.

Go for it…it’s free!

Postscript: Those eleven live interviews did more than sell books on radio – they resulted in several direct invitations to repeat my pitch on local television.

MILKING INCREMENTAL INCOME STREAMS AS AN AUTHOR

As your book(s) become available online and offline your reputation as an expert in your particular subject will flourish. This brings with it additional opportunities for attracting incremental income; opportunities such as…

1.Public speaking engagements;

2.Book reviewing;

3.Magazine article contributions;

4.Foreign translations of your work;

5.Book club sales;

6.Public Lending Right (PLR); you get paid every time some borrows your book from a public lending library;

7.Fees under licence (when another publisher reproduces your work);

8.Broadcasting rights;

9.Audio tape and disc rights.

The fees you earn are incremental to your book royalties and they soon mount up over a period of time. My new creative writing course ‘Secrets to Churning Out Bestsellers’ contains several chapters on how to milk these additional income streams. http://www.1st-creative-writing-course.com

Jim Green is a bestselling author with an ever-growing string of niche non-fiction titles to his credit. ‘Secrets to Churning Out Bestsellers’ is his latest dynamic creative writing course and is available for immediate download at http://www.1st-creative-writing-course.com and http://www.writing-for-profit.com


Novel to Screenplay: The Challenges of Adaptation. Some basic steps when adapting a novel to the screenplay form.

Written by Lynne Pembroke and Jim Kalergis


Continued from page 1

The old screenwriting adage, “Show, don’t tell!” applies more than ever when writing an adaptation.

CHALLENGE NUMBER THREE - “LONG-THINKING” Some tribes of American Indians had a word to describe those of their brethren who sat around thinking deep thoughts. Literallyrepparttar word translated to, “THE DISEASE OF LONG-THINKING”. Quite often, lead characters in novels suffer from this disease.

“Mike knew in his heart that Judith was no good. Yet she caused such a stirring in his loins, he could think of nothing else. He feared someday he would give in to this temptation named Judith, and his surrender would surely bring aboutrepparttar 128693 end of his marriage!”

If adapted directly, how on Earth would a director filmrepparttar 128694 above? All we would SEE is Mike sitting there, “long-thinking”. That is not very exciting to sayrepparttar 128695 least. And as mentioned previously, voiceovers are rarelyrepparttar 128696 best solution.

When essential plot information is presented only in a character’s thought or inrepparttar 128697 character’s internal world, one solution is to give this character a sounding board, another character, to which his thoughts can be voiced aloud. Either adapt an existing character fromrepparttar 128698 novel or create a new one. Of course as always, you should avoid overly obvious exposition by cloaking such dialogue in conflict, or through some other technique. Even better, figure out a way to expressrepparttar 128699 character’s dilemma or internal world through action inrepparttar 128700 external world.

CHALLENGE NUMBER FOUR - WHAT STORY? Mark Twain is quoted as saying about Oakland, California, “There’s no there, there“. Similarly, some novels, even successful ones, are very shy on story and rely forrepparttar 128701 most part on style and character to create an effect. Some prose writers are so good at what they do, that their artful command ofrepparttar 128702 language alone is enough to maintain reader interest. Such is neverrepparttar 128703 case in screenwriting.

Successfully adapting a “no-story-there” novel to screenplay form is a daunting task. One approach is to move away from direct adaptation toward, “story based upon”. Userepparttar 128704 brilliant background and characters created byrepparttar 128705 original author as a platform from which to launch a screen story. In fact, if for any reason a screenplay doesn’t lend itself to screenplay form, consider moving toward a “based upon” approach, rather than attempting a direct adaptation.

Congratulations! You’re now an expert on adapting novels to screenplay form! Well maybe not an expert, but hopefully you have a better understanding of how to approachrepparttar 128706 subject than you did ten minutes ago. And ifrepparttar 128707 subject still seems too daunting, you can always get professional help as outlined on our web page http://www.coverscript.com/adaptation.html

Copyright © 2004 Lynne Pembroke and Jim Kalergis, Coverscript.com

Lynne Pembroke is a writer, poet and screenwriter. Over 18 years of experience in screenwriting and screenplay analysis, helping individual writers and a variety of areas within the industry. Services include screenplay, TV script and treatment analysis, ghostwriting, rewriting and adaptation of novel to screenplay. Jim Kalergis is a working screenwriter experienced in the art of adaptation. Visit http://www.coverscript.com for details.


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