1000 Words By 9am

What if you could write as much as 1000 words by mid-morning, and enjoy the ride? Even though you love writing, it’s probably the most challenging activity you tackle each day. Here are some of the best tips that will let you “eat that frog,” sidestep procrastination, and 1000 words done by 9 AM

1) Create an outline the day before

Sitting down in front of a blank screen first thing in the morning is a recipe for low productivity. What you should do instead, is to create an outline the day before, so you’ll immediately have something to work on during your early morning session. MORE: NEWSFLASH: Like It Or Not, You Need To Outline

2) Let your unconscious mind work while you sleep

Never underestimate the power of your subconscious mind and the role it plays in creativity. Before you go to sleep, see your writing challenge in your mind’s eye and think about how to solve it. Then, simply let it go. When you wake up, you will often realize that the right solution is ready.

3) Write on an empty stomach

You’re actually more intelligent before eating your breakfast. There’s a phenomenon called “empty stomach intelligence.” When you’re hungry, your brain produces a hormone known as ghrelin, which can enhance cognition and keep you more alert. So try writing before breakfast for a couple of days and see if it works for you.

4) Practice free writing

Free writing is a perfect writing strategy to use to awaken your creative machinery first thing in the morning. Pick a prompt, or get back to your current writing project, and write your heart out without a care in the world for grammar or rhetorical concerns.

5) Dictate instead of using your keyboard to write faster

A study conducted by Stanford University has proven that dictation is up to three times faster than typing. If you want to get your 1000 words done by 9:00 AM, you should take advantage of that extra speed. All you need to get started is a decent microphone and a dictation tool like the one from Google Docs. CLICK HERE for more on using timers and free writing.

6) Use caffeine like a pro

Caffeine is one of the writer’s most reliable allies, but you need to use it wisely. If you drink coffee immediately after waking up, you may start feeling anxious. That’s because, in the early morning, your body is filled with cortisol (a stress and wakefulness hormone). Add espresso to the mix, and you’re entering the land of jitters.

To avoid that, it’s better to get your fix one or two hours after waking up and sip your brew slowly to squeeze out a productive writing session.

7) Get your writing done before the business day starts

Most of us are morning types, and that’s when we’re the most productive. If you can consistently wake up at 5:30 AM to 6:00 AM, you can slash through your 1000 words before you get your first email or text message.

8) Set a timer for one hour and only write

Use your timer as a forcing system that will help you to stay on track. So set your timer for one hour, put the distractions aside, and concentrate on writing and nothing else. At the end of the hour, you’ll have 500-1000 words ready – no doubt about that.

9) Write 1000 words in a single session

This one requires a healthy dose of willpower and self-discipline, but it’s doable. Instead of using the timer, you use your actual word count as a measuring stick for your progress.

10) Use psychological triggers to step into writing mode

As writers, we need mental cues that put us in this creative, free-flowing mindset. It might be something as simple as lighting up a candle on your desk, using incense, eating a special snack, or playing your favorite piece of music. MORE: 2 Secrets To Unstoppable Productivity

Last Words

The above tips will boost your productivity and help you enjoy the writing process a bit more. Now take the one that you like the most and make it part of your writing routine.

Do you have any other suggestions on how to become an early morning writer? Please feel free to leave a comment. I’ll be happy to respond!

Good Luck!

BIO: Rafal Reyzer is a full-time blogger, freelance writer, digital marketer, editor, and content manager. He started his blog to provide readers with writing resources and strategies they can use to achieve freedom from 9-5 through online creativity. His site is a one-stop-shop for writers, bloggers, publishers, content enthusiasts, and freelancers who want to be independent, earn more money, and create beautiful things.

For B2W offers and free stuff first, join my EMAIL LIST

Share this:

How To Write A Diverse Character

It’s a fact that audiences want a greater variety of characters in movies and television that feel both fresh AND authentic. But as writers, we are also told to ‘write what we know’ …  And we can’t KNOW EVERYTHING. Supersadface.

This is why so many Bang2writers say they would LOVE to write more diverse stories and characters BUT …

  • … They ‘don’t know where to start’ and
  • … They’re ‘afraid of getting it wrong’

So now what???

Well, start here with the B2W flow chart … And to avoid ‘getting it wrong’, pay close attentions to what it asks of you as a writer. LET’S GO!!



Emotional truth is the first stop on the B2W flow chart. Authenticity is the antidote to samey tropes and stereotypes. True fact! Start with these questions, below. 

1) Why this story?

This part asks the writer to consider WHY they feel the need to tell this particular story. It helps us connect with our own motivations and identify that element that really connects us to both the story and our target audience. However, sometimes we have to face we are not the best writers for the job. 

  • What is my motivation and/or background?
  • What is the point, theme or message I want to explore here?
  • How can I bring authenticity to this story? How can I access this world?
  • What research do I need to do? What do I already know?

2) Why this character?

Note the character spotlight on the B2W flow chart. Connection is key to a diverse character feeling authentic.

  • Is this character like me? Why/why not?
  • How can I make this character’s struggle or motivation meaningful to the most people possible in my target audience?
  •  Can I bring authenticity to this character? How can I access his/her world?
  • What research do I need to do? What do I already know?

TOP TIP: Writers fall into the ‘same-old, same-old’ when they don’t SCRUTINISE their ideas and assumptions at foundation level. If you do the above however, you can find a fresh take.




Next on the flow chart: check your initial logline/idea, with the following questions in mind.

 3) What is LIKE this story?

  •  What has gone before in this genre, style, tone in various mediums?
  • How is yours the same … but DIFFERENT? What is your twist, or unique selling point?
  • Who is your target audience? (It’s not ‘for everyone’!).
  • How do you know they will like YOUR story, or at least are likely to pay $$ to watch it?
  • What does your target audience want? What research do you need to do on this?

4) What type of diverse story do you want to write?

  • Diversity as catalyst.  The most common type of diverse story. The main characters’ diversity serve as the REASON for the story occurs (ie. had they not had some kind of ‘difference’, they would not be part of the story). Examples: GET OUT, MAD MAX FURY ROAD, THE HANDMAID’S TALE.
  • Diversity as backstory. In this story world, diversity is the standard. The lead characters and their secondaries are not the REASON for the story. Instead, characters live in a diverse world where their individual heritage may or may not be important eg. PITCH PERFECT, OCEAN’S 8, EMPIRE, THE 100 , GRAVITY, BROOKLYN 99 etc).


Back to characterisation on the flow chart, with the following questions in mind:

 5) What is LIKE this character?

  • Who is your protagonist? What does s/he want? Why?
  • Who is your antagonist? Why does s/he get in your protagonist’s way?
  • Who are your secondary characters? Are they ‘Team Protag’ or ‘Team Antag’ – Do they help or hinder your main characters? Why?
  • Are your characters archetypal? Cross-reference with your story notes. Are your characters a fresh twist on those ‘usual’ archetypes we see in their story’s genre/type, or rehashes of what we have seen before?
  • Where does your protagonist live? What is the status quo in his/her storyworld? Is this a world where diversity is typical … or untypical? Why?

TOP TIP: Actors want to do good work too, so this means they choose roles that seem fresh, innovative and authentic. Too often, secondary and peripheral roles often get overlooked completely by writers. This means only the two main roles may seem interesting. They should ALL be interesting and add to the narrative as a whole!

6) Type of Protagonist You Are Writing

Next up on the B2W flow chart … Protagonists are most often the character driving the story, making them vital to the success of your story.

  • Protagonist as The Educated – the most common. This type leads to the protagonist changing his or her viewpoints via her actions in the narrative, thanks to the actions and teachings of other characters (usually secondaries, but also the antagonist. B2W calls this ‘The Transformative Arc’). ‘The Hero’s Journey’ is a classic example of the transformative arc, so most superheroes follow this route.
  • Protagonist as The Educator – There are many ways to do this, but here are 3 of the most common ways to write a protagonist who does not undergo a transformative arc:
  1. ‘The Change Agent’ is when a protagonist does not change him or herself, but may inspire other characters to change, such as the antagonist or secondary characters, ie. Forrest Gump, Mary Poppins. MORE HERE.
  2. The Voyager. This is a character who is already capable and doesn’t need to change so much, as solve a significant problem presented with skills and attributes they already possess, ie. John McClane, Ellen Ripley, Furiosa, John Wick. Secondary characters may have to decide to ‘fall in’ with the protagonist and see the mission his/her way … They must help the protagonist, or they are the enemy. You could say The Voyager’s motto is ‘join me or die’.
  3. The Passive Protagonist. A passive protagonist will resist all efforts to make him or her do ANYTHING … which is why a secondary character or antagonist MUST ‘take the reins’ FOR the passive protagonist and drive the story forwards. Usually, a passive protagonist will take some kind of last-minute action in the final moments of the story *for some reason*, often under sufferance (especially comedy), ie. THE BIG LEBOWSKI.


7) Write A New Logline

Now return to your notes/ original logline / outline and use what you have broken down here to INFORM your story in a NEW logline … with your diverse character at the heart of it!

  • Try the 3 Cs – clarity, character, conflict. The B2W model reminds us a good logline makes it obvious what is at stake for a character by using clear language, such as active verbs and focusing on WHO does WHAT. This prevents us from describing ‘around’ the story and/or falling back on cliched language.
  • Another good model for loglines to use in conjunction with the above:

When (inciting incident occurs), a (specific  protagonist)

must (objective) or (this happens –> stakes).

MORE: Cheat Sheet – How To Write A Logline

This post originally appeared at Writers Helping Writers

For B2W offers and free stuff first, join my EMAIL LIST

Share this:

How To Boost Your Writing

If you want to give your writing a quick and easy boost, you’ve come to the right place. Here’s a top 10 of writing tips I give most often. What I love about these is they’re straightforward and easy to implement. You can start doing them all TODAY!  Ready? Let’s go …

1) Start Anywhere

Writing a whole screenplay or novel from start to finish can seem insurmountable. But what if I told you that you DON’T have to write in chronological order? Just start anywhere. GOGOGO!

2) Bullet Point It

Lots of writers freak out about outlining. They might say outlines kill spontaneity, or it’s so boring it demotivates them. But outlining can be anything … so why not bullet point yours? You’ll be surprised how quick and easy this is.

3) Plot Backwards

Screenwriting veteran Billy Wilder said that if you have a problem in Act 3, your issue is Act 1. So give your writing a boost by STARTING with your ending. That’s right … plot backwards! More, next.

4) Draw The Story

If you find plotting is difficult but also hate outlining, draw the story instead. Creating a visual representation of your story can really help you spot inconsistencies and gaps in your plotting. Download the free B2W worksheet (and see lots of other visual representations) HERE.

5) Use Brackets

Find that you’re grinding to a halt when you’re drafting, or outlining? No problem. Simply use brackets, like @Massawyrm suggests here:

In case you don’t know, Massawyrm is C. Robert Cargill. He wrote Blumhouse Horror classic Sinister and Marvel’s Doctor Strange. In other words, he knows his stuff!

6) Leave Dialogue ‘Til Last

Writers have lots of problems with dialogue. Maybe you find dialogue hard … Or maybe you have a tendency to overwrite dialogue, letting scenes and chapters run away with you?

No problem. Boost your writing by writing ‘[INSERT DIALOGUE HERE]’ and concentrating on the visuals, storyworld and characterisation instead. Then come back later and add those lines of dialogue. You’ll be amazed by the difference this makes.

7) Kill All /lys/ & /ings/

Uber-author Stephen King advised writers to ‘kill all adverbs’ – those pesky /ly/ words. Take it from me as a script reader: the average spec screenplay or unpublished novel has FAR too many /ly/ words. Screenwriters and authors alike can benefit from this advice and boost their writing.

Screenwriters would do well to avoid the present continuous tense too. It’s this that creates those annoying /ing/ words. Make sure you’re using the present simple instead.

8) Check What’s Gone Before

I hear a LOT of pitches that sound like stories I have read or watched before. Inevitably, when I ask the writers how theirs is different, they will answer with, ‘I haven’t read/watched that’. Noooooooo!

Boost your writing by immersing yourself in your chosen genre. Identify stories *like* yours and work out how yours is ‘the same … but different’.

Yes, yes you can’t know every single story, but don’t be lazy. Research like hell, because it WILL help your writing. Sites like The Bookseller, Publisher’s Weekly, DoneDeal and IMDB make this EASY!

10) Kill All FILLERS

Lots of stories have what B2W calls ‘fillers’ in them … Those actions and behaviours that don’t advance the story, or reveal character. Instead, those moments are just marking time. YAWN!

The most common are walking, running, eating and drinking. Obviously all of these *can* work … But ONLY if they advance the story and/or reveal character. For more on avoiding fillers …

10) Use A ‘Baseline’

Whether you are writing a spec screenplay or novel, it’s a great idea to start with a preliminary logline for your story. B2W calls this a  ‘baseline’. This can be a really powerful tool, as it creates a foundation for your draft. Using a baseline means you can check whether …

  • there’s any concept mistakes at grass roots level
  • your story has evolved, or you’ve gone wildly off-road with it
  • if you actually have two stories in there (happens A LOT!)

You can also send to your peers and check whether it feels generic or a rehash, too. Writing a baseline can save you a world of pain as well as boost your writing. Grab the B2W logline cheat sheet, HERE.

Good Luck!

For B2W offers and free stuff first, join my EMAIL LIST

Share this:

What Is Storyworld?

If you type the word ‘storyworld’ into Google, the results are not great. But it’s a word I like to use with writers, because the notion can prove very illuminating in discussing how stories hang together. So, let’s agree the definition of ‘storyworld’ as …

‘The space in which the story operates, which impacts directly on how it is told.’

With this in mind, let’s consider the top mistakes writers make with their storyworlds and how to approach it instead. Ready? Let’s go …

1) Thinking storyworld is only a sci fi / fantasy thing

Lots of writers believe paying attention to storyworld is only something sci fi and fantasy writers have to worry about. This is NOT true. Whilst there is an increased emphasis on storyworld in these two genres, ALL stories require a storyworld. More on this, next. MORE: 8 Mistakes That Will Kill Your Sci Fi Screenplay Dead 

2) Not realising genre impacts on storyworld

Every Bang2writer should know that different genres have different conventions. This means audiences have different expectations of said genres, for example …

  • If it’s a comedy? The story should be funny
  • A horror? Then it should be scary
  • A romance? There should be a focus on love/relationships
  • Or a thriller? The story should be exciting 
  • A mystery? It should be intriguing 
  • If it’s a drama or literary fiction? It should be emotional
  • If it’s a cross-genre story, it should contain elements of the above

If all this sounds obvious, that’s because is it is. However, spec screenplays and unpublished novels rarely play out the way I mention above.

This is because writers too often underestimate the importance of storyworld in differentiating the genres and types of stories. But how to do this? Check out the next section.

3) Thinking setting = ONLY location

Setting is very important when it comes to storyworld. It refers most often to physical location, but can also include time periods, too. Here’s the lowdown …

  • Scripts and books set in the UK will be different to those set in America … which in turn will be different to those set in Australia, India, China or Germany. Culture and theme tends to play a big part here.
  • Writing set in urban areas will be very different to those set in the provinces. Again, this is frequently a cultural or thematic difference (see 5 on this list).
  • Some stories take place all over the world, eg. spy thrillers. Others take place ‘off world’, in space or in fictional universes. These will be very different in scope to ‘smaller’ stories that take place in just one location (ie. a single household or street, such as many dramas or literary pieces).
  • Some stories take place in very small time periods, eg. 1-4 days, or even just a matter of hours. A lot of horrors and thrillers take place in very small time periods. Others may take in many months, years or even decades. This is true of epic romances and sagas, as well as some dramas.
  • A story set in present day is very different to one that is set in 1986 … Which in turn is very different to one set in 1952, or 1825, or 1546.

So writers who think setting is ONLY about physical location are mistaken. Instead, storyworld is what I mention at the beginning of this article … that ‘space’ in which the story operates.

What this means will change according to the story being told, especially when it comes to genre (point 2) and thematics (point 5, below). Next up though: the ‘feel’ or ‘tone’ of the story.

4) Forgetting about tone

Every single story has its only ‘feel’ or ‘tone’, even when they are in the SAME genre. This is why various subgenres exist, for example in crime fiction …

  • Police procedurals place the investigation at the heart of the story, focusing on officers trying to solve the crime. Example: Peter James’ Roy Grace books.
  • Cosy crime books tend to focus on an amateur detective character. These tend to downplay violence and often treat the investigation with some humour. They frequently take place in rural communities. Example: Agatha Raisin And The Quiche of Death by M.C Beaton.
  • Serial Killer Thrillers are often dark and bloody, with some cross-over into horror. (They may include elements of police procedural, or they may not). Example: Jeffrey Deaver, The Bone Collector.
  • Domestic noir crime books are often set in the home, hence the name./ They often feature a female lead with some kind of problem that usually becomes life-or-death. It’s often related to a dark secret from the past, but is just as likely to be a family issue … A missing child, a dead sister or a lying lover are all favourites in this sub genre. Example: my novels! 😉

By the way: yes, the same happens in screenwriting

Consider the many, many police procedurals on television … It’s very apparent how their feel/ tone changes, especially once we factor in genre and the TYPES of story they are …

i) Brooklyn 99 is a sitcom, so it needs to be funny

The show also what B2W calls ‘hyper real’, meaning literally anything can happen. It’s also very whimsical, with an emphasis on lighthearted and progressive humour. Those ‘cases of the week’ are a staple of the show, but its real emphasis is on the B99 team and their relationships in life and love.

ii) The Crime Scene Investigation franchise was ALSO ‘hyper real’

We also invest heavily in the dynamics of the CSI team. That’s where its similarity to Brooklyn 99 ends, however! As a sixty minute (ish) show, CSI occupied a completely differently place in the TV schedule … and audience expectations shifted as a result.

Predominantly case-lead, CSI’s primary focus was not humour, nor were we especially interested in the characters outside their work (beyond some storylines). There was no whimsy to the show, with lots of its themes being rather dark and about the nature of culpability.

Within the franchise itself, there were tone changes too. CSI: Las Vegas was often the bloodiest, often focusing on flamboyant serial killers but also philosophical questions via its lead Gil Grissom about the nature of crime. In contrast, CSI: Miami was DELUXE HYPER REAL, with its lead Horatio Caine nothing more than an idealised action hero who will save us all from drug dealers and cartel enforcers. CSI: New York was different again, its lead Mack was an ex-Marine and very much the thinking man’s blue collar hero.

As you can see then, ‘feel of the piece’ is VERY important to storyworld!

5) Forgetting about Thematics

Theme relates to the underlying ‘point’ or ‘message’ of the story … the subtext, if you like. You build theme into a story via what B2W calls ‘thematics’, which may be …

  • Genre & subgenre
  • Feel / tone
  • Setting (time and place)

Oh would you look at that … STORYWORLD, in other words!

Let me illustrate by using my own writing as an example of thematics and how it works.

I mostly write crime fiction, specifically domestic noir (as already mentioned in section 3). Whilst I always set my stories ‘now’ time-wise, my feel/tone is always rather dark and angsty. I tend to write complex female leads that are not always ‘likeable‘. Basically, there’s nothing whimsical about my storyworlds!

I always invest very heavily in physical location. At the top of this post, you can see some pictures relating to my latest novel, Never Have I Ever. I tend to set my writing in seaside towns. Most of my stories are in places like Brighton and Devon. In this case, it’s Ilfracombe in North Devon.

I use these thematics to make a specific point throughout most of my work. My characters are outsiders, living on the fringes. They can’t ‘just’ call the police to solve their problems … Even if they did, a lot of the time, austerity in rural areas means police are overstretched and not available. I am calling forth themes of exclusion. I use storyworld to do this, overtly and on purpose.

Also, in the case of Never Have I Ever, I draw attention to themes of motherhood, justice and truth. I set the book in Ilfracombe because it’s home to Damien Hirst’s Verity statue, which is also symbolic of all these things.


6) What is possible in this storyworld?

Finally, remember the dreaded ‘plot hole’. Lots of laypeople don’t understand what these truly are. They call events that wouldn’t happen in real life, or even just stuff they don’t like, ‘plot holes’ but this is BS.

A real plot hole is basically something that COULD NEVER HAPPEN within the storyworld a writer has established from the offset.

In other words, we’re talking about Set Up/ Pay off. You need to set up the *possibility* of something inside your storyworld from the beginning, otherwise you’re cheating. Other than that, you’re golden. MORE: 3 Things You Need To Know About Plot Holes 

Good Luck!

For B2W offers and free stuff first, join my EMAIL LIST

Share this:

Lawyer Up!

Lawyer characters have long been popular in novels, on TV drama and in movies.

As the author of Convictions, the first in a new legal suspense series featuring legal eagle Natalie Bach, I’m all for sexing up the legal profession.

But if I’m brutally honest, too many lawyer characters out there are samey or even stereotypical. Here’s my take on a few mistakes writers make about lawyer characters. Ready? Let’s go …

1) The lawyer is dodgy

In real life, lawyers have to be of the highest integrity and will be disciplined or struck off if they step out of line. Nor do they stop at nothing in service of their client. Sorry, no bribery, blackmail or abduction, even on a good day. Stealing or laundering client money isn’t allowed either.

But okay, okay … we’re sacrificing facts for drama. I get it. But do lawyers ALWAYS have to be ‘brilliant but flawed’ alcoholics with broken hearts?? Bored now! MORE: 5 Times It’s Okay To Sacrifice Facts For Drama

2) They bully their clients and witnesses

Unlike films and TV shows, criminal lawyer characters do not (or at least should not) bully, scream or rudely defend their case in court. In reality, they assert themselves with restraint in the best interests of their client. Again, we’re dealing with stereotypes here. Can you mix it up and subvert our expectations?

3) The lawyer is impossibly glam/sexy

Unlike Suits, The Split or The Good Wife, being a lawyer isn’t generally glamorous, exciting and sexy. It might have its moments but in reality only a small percent of lawyers practice crime or divorce. Even those areas involve hours of paperwork, research and reading in drab offices rather than strutting around a state-of-the art glass building or putting on a mind-blowing showdown in court.

So, what if your lawyer character WASN’T this well-worn character? What if s/he was up against the system, working from a shabby boxroom somewhere? Or maybe no one takes your lawyer character seriously, Erin Brockovitch style. MORE: How NOT to Write Female Characters

4) They commit perjury

In fiction lawyers sometimes lie to win a case. Nope, it’s not worth it, even for your favourite Aunt Mildred. They adhere to strict rules of law and ethics and cannot knowingly mislead the court.

If a client says he or she has committed the offence in question, then a lawyer cannot allow them to give evidence of their innocence under oath, otherwise they would be complicit in their perjury and get struck off. But what if they didn’t know the client was lying? Suddenly we’re back in the game.

5) The lawyer is an uncaring shark  

Fiction – and real life! – often suggests lawyers are rich, unethical and money-grabbing. Remember the old joke …

Q: Why won’t sharks attack lawyers?

A: Professional courtesy.

Sure, maybe some are in the law for money and prestige (and the occasional rock star lifestyle). In my experience though, most lawyers are genuine, decent and caring folk who want to do their best for their clients.

This is why I wrote Natalie Bach, the solicitor star of Convictions as such a person. Using her self-styled feminism, doggedness and charm, she tries to unearth the truth, but she soon discovers there are two sides to every crime.

Why not try similar by subverting those profession-based stereotypes in your own writing.

Good Luck!

BIO: Convictions is the first book in a gripping new legal, crime suspense series written by bestselling author Caroline England, writing as Caro Land. It will appeal to fans of authors like Diane Jeffrey, Samantha Hayes and K.L. Slater as well as readers of women’s fiction. Available in ebook and paperback, BUY IT HERE.

For B2W offers and free stuff first, join my EMAIL LIST

Share this:

Legal Eagles

I’ve had loads of legal questions lately from the Bang2writers, so I thought it would be a good idea to round them all up here for everyone. So if you have a burning legal question, check out the below!

Before I begin though, a quick disclaimer … DO remember B2W is not a lawyer or legal expert!!

The below is based only my own experiences and the various deals and situations I’ve seen going round the writing block. If you require legal advice, then speak to a real expert ASAP. Let’s go …

1) What is an option agreement and how does it work?

An option is a type of contract a producer might want a writer to sign to give him/her exclusive rights to their screenplay or book. In return, the producer will pay money for the rights. (Free options do exist, but B2W does not officially recommend writers sign free options).

An option will give that producer those rights for a certain length of time, usually somewhere between two and five years. During this time, the producer will try and raise money to get the script or book developed/adapted and made.

After this period, if the movie or TV show is not made, the rights revert back to the writer. This generally means the writer is then free to sell the script or book again. Lots of writers, especially authors, have done this multiple times.

Read more about options and see an option template, HERE.

2) What is an ‘Expression of Interest’?

An ‘E.O.I’ (sometimes known as a ‘shopping agreement’) is a kind of option-like contract between a producer and writer for a very short amount of time, ie. three months.

With E.O.Is, no money usually changes hands. Instead, the producer and writer come to an agreement that the producer will take the writer’s script to a specific production company or event (ie. Cannes) with a view to raising money and/or interest in the project.

Lots of writers and producers think of E.O.Is as ‘win-win’ arrangements for both parties … Producers might like them because it means they don’t have to pay lots of money upfront, but can still test the waters on a project. It also means they can junk a project quickly if it fails to get traction.

Writers might like them because it means the producer is serious about their work, but they also don’t have sign rights away for a long time. Of course, others dislike them and think producers are hedging their bets. Like anything, individuals’ mileage may vary.

3) How does copyright work?

Depends where you are! On a legal level, it’s always wise to check the laws of the country where you permanently reside. In the UK, copyright exists as soon as a writer has created a piece of work. It also lasts for the creative’s entire lifetime, plus seventy years.

Generally speaking though, it’s worth remembering that it’s NOT possible to copyright an idea, only its execution.

4)  What is a release form?

A release form is basically a ‘permission to read’ document. The USA tends to use them a lot. You don’t see them as much in the UK or Europe.

Producers send these out to protect themselves from potential legal headaches. This may include writers who might say something along the lines of …

‘You read my screenplay, then made a film or TV show with a similar idea, so now I will sue you.’ 

Lots of writers believe release forms are proof the industry is out to rip them off. But remember, ideas cannot copyrighted anyway, plus you have copyright on the execution of your story.

But if release forms scare you, simply check out multiple release form templates online. You will see they are all much of a muchness. Alternatively, don’t send your scripts to US producers.

5) What is a non-disclosure agreement?

An N.D.A is a type of legal contract that says you can’t talk about a project that is in development. Bang2write has signed lots of NDAs over the years … but crucially ONLY for specific companies, initiatives and producers that have budgets and talent attached. In other words, projects that might get sabotaged or spied on by rivals.

NDAs are NOT for writers to send out with their work as standard. For one thing, it makes no sense. If you won’t permit producers to talk about your project, they cannot raise money to make it! It is an epic own goal. MORE HERE.

6) Should I have a contract when I am collaborating?

Hella, yeah. For every filmmaking form you could ever need from No Film School, CLICK HERE. Reason why, next.

7) I collaborated on a project, but it all fell apart. Who owns it now?

Based on my own experience and other Bang2writers’, I’ve found this usually depends on 2 things, whether …

  • They paid you money. If they paid you £££ / $$$, then they probably own it, even if it was your idea. If you don’t have a contract, then getting the rights back will be a right ballache and may be impossible.
  • Whose idea it was. If they didn’t pay you money, then it depends whose idea it was and who can prove it. Contracts, email chains, early drafts can all help do this. So make sure you have that proof!

8) How does adaptation work?

Projects are most often adapted from novels, plays and short stories, but also video games and even toys. As with number 1 on this list, the first step is probably officially optioning the source material.

There are books and plays that are ‘public domain’, or FREE automatically. This is because their copyright has run out, as their creators are dead and have been for longer than seventy years. This is why certain books and writers are so popular. The usual suspects are Jane Austen, Charles Dickens and William Shakespeare. For more, check out the 25 Most Adapted Authors of All Time.

9) Should I ask for life rights or permission on a true story?

It depends. Sometimes you HAVE to, especially if that person is still alive. In the UK, it’s not possible to libel the dead, but it is in other countries, so it can be a good idea to ask next of kin for permission. Just recently we saw Heather Morris, author of Cilka’s Journey, sued for libel on this basis by the stepson of the woman she writes a version of in her book.

Other times, it won’t matter because that person’s life has passed into history. Judging the latter can be difficult, but you’re generally pretty safe it’s one hundred years ago or more. MORE HERE.

10) They say they can’t pay me any money. Now what?

There’s a number of different ways of approaching this. Here’s Bang2write’s most recommended …

  • Is it collaboration, or exploitation? Collaboration is good’; exploitation is bad. To get the former and not the latter, work out what you personally get from working with these people (if not money) and weigh it up carefully.
  • Who is getting paid? If NO ONE gets paid, generally it’s fairly safe to assume you’re on the same level. But if you’re the only one NOT getting paid, run away.
  • When would you get paid? It’s common to get a payment on signature of a contract, when you deliver the main draft, plus when a book is published / or a script is filmed. However, lots of writers are offered money only at the ‘back end’ when it ‘goes into profit’. Too often, this is a load of BS as there are lots of ways to ensure there is ‘no money’ at the back end. So watch out for these deals and who is trying to make them.
  • More money long term. There are lots of deals people can sign to to get extras, like a certain percentage of ticket sales or profits on ancillary markets. Novelists are sometimes offered no money (advance) on their books upfront, but offered different renumeration instead, ie. 50% on all ebook sales. This is MUCH more than the average ebook royalty (which is typically 20-25%), so can be very lucrative if the book does well. Again, weigh it up and consider if it’s worth it. If you have an agent, they should help with this. If you don’t, talk it over with writer friends higher up the chain if you have any.


11) Someone did me over, can I tell everyone?

Yes … and no. On the one hand, the industry is based on relationships, so yes, people SHOULD know if someone  treated you badly. However, you also don’t want to throw mud, which can impact your own career if others pull rank. Balancing the two can be very difficult.

With this in mind then, I would say it depends how you do this. Ensure first it’s a grievance that potentially affects many people, not just you personally. There are people in the industry I dislike who in turn dislike me. Bar the odd spat online, I’m not going to go to war with them over them being rude to me or slagging me off, it’s simply not worth my time.

So, make discreet enquiries. Establish it’s not just a difference of opinion or way of doing things by doing your due diligence. As a general rule, avoid crusades. Just be ready to offer this negative opinion only when it’s specifically asked for. Try and keep it offline (unless of course it’s very serious then all bets are off). MORE: Better Safe That Sued: 5 Law Tips For Writers

Good Luck!

For B2W offers and free stuff first, join my EMAIL LIST

Share this:

All About Malcolm Gladwell

Malcolm Gladwell has a unique perspective on pretty much everything. His views on the world bring him fans and foes.

Gladwell is a British-born Canadian journalist and academic. He is also a podcaster, public speaker and New York Times Bestselling author.

But like most successful people, it didn’t just land in his lap, he worked hard for it, as anyone who has read his work would know.

Gladwell spent his early career gaining recognition for his work via networking, shameless self-promotion and testing out his ideas on friends and family.

But what can Malcolm Gladwell teach writers about success, perseverance and aspiration?

Below, I’ve collated five quotes of Malcolm Gladwell and the lessons we can learn from him.  I hope they will assist you in your own writing journey.

Lesson One

Malcolm says:

“Good writing does not succeed or fail on the strength of its ability to persuade. It succeeds or fails on the strength of its ability to engage you, to make you think, to give you a glimpse into someone else’s head.”

What can we learn from this quote?

We are currently living in an era of outrage and group-think where people hate anything they disagree with.

This affects writers negatively as they begin to tone down their voice and sell an ‘approved’ message.

If a reader stays engaged (whether they agree with you or not), you have won the battle.

Lesson Two

Malcolm says:

“My writing model is my mother, who is a writer as well. She always valued clarity and simplicity above all else. If someone doesn’t understand what you’re writing, then everything else you do is superfluous. Irrelevant. If any thoughtful, curious reader finds what I do impenetrable, I’ve failed.”

What can we learn from this quote?

Malcolm’s quote reminds me of Einstein’s quote “Genius is making complex ideas simple”. Writing should be easy to read, not exhausting! Edit, edit, edit and don’t be pretentious – it’s unappealing to most.

Lesson Three

Malcolm says:

“I was a basket case at the beginning, and I felt like an expert at the end. It took 10 years—exactly that long.

In fact, researchers have settled on what they believe is the magic number for true expertise: ten thousand hours.”

What can we learn from this quote?

To become a pro at any pursuit, you have to be willing to put in the time and effort, this is particularly true with writing.

There is no such thing as an overnight success — all the public ever sees are results.  There is usually a massive battle going on behind the scenes.

If you haven’t served your ten thousand hours yet, then stop whining and get to work.

  • Journal morning and night.
  • Start daily morning pages.
  • Pitch to magazine and newspaper editors.
  • Try Haiku or blackout poetry.
  • Write handwritten letters.
  • Self-publish a book on Amazon
  • Start a personal blog
  • Volunteer at an online magazine

There are no rules on how you get to your ten thousand hours, just get it done and dusted! You will be relieved afterwards and the universe will repay you in dividends.

Malcolm Gladwell teaches a popular class on MasterClass, where he dives deeper into this 10,000-hour theory.

Lesson Four

Malcolm says:

“Clear writing is universal … If you write in a way that is clear, transparent, and elegant, it will reach everyone.”

What can we learn from this quote?

The goal for any writer is delivering a clear message, narrative or metaphor. Successful writers achieve this seamlessly and failed writers don’t.

Don’t get caught up in using academic or flowery language when it isn’t necessary.  Stop using big words in an attempt to appear smarter.

Lay your cards on the table, be clear and truthful. That will win you more fans than deceptive writing will.

Lesson Five

Malcolm says:

“Practice isn’t the thing you do once you’re good. It’s the thing you do that makes you good.”

What can we learn from this quote?

This quote of Malcolm’s is so applicable to writers and the writing life.

There are absolutely no short-cuts to being a great writer and there is a multitudinous amount of rejection.

The only sure way to the other side is to WRITE your way through it and learn valuable lessons via practice along the way.

Good Luck!

BIO: Brendan Brown is a writer and founder of Global English Editing, a book editing service for authors.

For B2W offers and free stuff first, join my EMAIL LIST

Share this:

All About Ego Depletion

Lots of writers are familiar with the idea of burn out, but perhaps not the term ‘ego depletion’. But if you are struggling to muster the willpower to edit your script or write another 1,000 words? Then you may be experiencing ego depletion.

No matter what you’re working towards, achieving your goals takes time and discipline. Though there will be setbacks and hurdles to overcome, with time and effort, you can accomplish your aims.

It is not unusual for hardworking writers and creatives to get stressed and burnt out. Ego depletion is the lack of willpower or motivation we feel after spending too much effort on self control.

The ego is Sigmund Freud’s term for the part of ourselves that mediates between our impulses and what we know we should do. So when your ego becomes depleted from …

  • working too long on a difficult task you’d rather skip
  • you make too many decisions
  • or are simply stressed out

your ego can become depleted. As a result of ego depletion, you lose motivation and struggle to hit the goals you set for yourself.

So if after a long day, you just can’t seem to summon the willpower to stay away from snacks you know you shouldn’t eat, it may just be because your ego is depleted. When you find your motivation is limited, don’t force it. Instead, use your focus strategically to work on the things that are the highest impact.

For more tips on overcoming ego depletion, check out this great infographic by Turbo. Check it out after the jump and good luck!

More on this on B2W

Top 5 Tips To Deal With Writer Burn Out

Why Writing Can Be Therapeutic

5 Ways To Stop Being A Tortured Artist

Top 9 Time Management Secrets To Help You Write More

5 Habits of Highly Productive Writers

For B2W offers and free stuff first, join my EMAIL LIST

Share this:

Become A Better Writer

Want to become a better writer? Join the club! ‘How to become a better writer’ brings people to this blog every month, every single week and day of the year.

Lots of people think becoming a better writer is down to some kind of special magic. This is not true. Whilst getting better is a lot of work, it’s actually just like anything … You have to PRACTICE!

But how do we do this? Well, I sat down and put some thought into a short 10 day programme that will help you become a better writer. You can do each day consecutively, or you could do each step as and when you can. Ready? Then let’s go …

Day 1) Commit!

First things first … Work out WHAT you want to do, committing to concrete goals. Lots of writers start a project, but run out of steam and never finish. Other times, writers may finish but then have no clue what to do next. Or they may try to send their work out, get nowhere, then give up. Eek!

The above happens because those writers don’t know what they’re doing. If we want to become better writers, we have to be able to see projects through, from development to completion to submission.

So today you need to figure out WHY you want to write a particular project, as well as WHAT you will get out of it. This needs to also include practical things like HOW you will get it done and WHEN BY. Yes, spend a whole day on this!

MORE: How To Set Meaningful Goals And Stick To Them

Day 2) Get Motivated

Do whatever it takes to get motivated to meet those goals you set up on  Day 1. This will likely be personal, but may include …

  • Creating your book cover, movie poster or Netflix listing
  • Reading motivational quotes
  • Imagining telling your friends and family about your book or script deal
  • Making Pinterest boards of concept art or actors who would play your characters
  • Visualising your characters as real people
  • Creating a playlist of music as the OST of your story

I do ALL of the above. Whatever floats your boat! You can revisit all of these for further inspiration when  your project gets really difficult further down the line (because it will!). MORE: 12 Motivational Quotes To Bring Out The Writer In You

Day 3) Analyse

Becoming a better writer is about appreciating what goes into a successful story … But note that ‘successful’ does NOT necessarily mean whether we personally like it!

Good writers realise their opinions are not facts. It’s still possible a book, movie or TV show we dislike is well-crafted. In order to appreciate this, we should take a look at something outside our usual wheelhouse today. It can be a spec script or book, or produced or published content.

MORE: 8 Steps To Analyse A Successful Story

Day 4) Develop your structural toolbox

Good writers do the work of developing their structural toolbox. They read around the subject and work out they see structure working. They develop a vocabulary for describing the issues with their own work.

Lots of writers believe structure is somehow ‘accidental’ or that they need script editors to tell them where they’re going wrong. This is BS. So today, it’s your job to research and decide how YOU see structure working!

MORE: Why Being An Expert At Structure Helps Your Writing

Day 5) Study characterisation

Most writers understand a protagonist needs to want something and that the antagonist gets in the way of that somehow. Beyond that, they may be much more hazy on supporting characters … As for stuff like peripherals?? Forget it!

Today your job is to check out how character motivation works in relation to role function. You may also want to think about stereotype versus archetype, plus how tropes work.

MORE: Writing Diverse Characters For Fiction, TV or Film

Day 6) Identify concept errors

Concept, premise, central idea, seed of the story … Whatever you want to call it, there’s a kajillion (actual number) concepts online.

Today, your job is to find some … They can be produced ones (like on Rotten Tomatoes or IMDb) or spec (such as on Bang2writers, Shooting People, #Pitmad on Twitter etc).

Now ask yourself … do you understand how this concept works? If not, why not? Is it a problem with the logline, or does the actual idea feel muddled? Spend the whole day really immersing yourself here and get a feel for how pitches go wrong.

MORE: Top 5 Concept Mistakes Writers Make

Day 7) Learn about audience

NEWSFLASH – absolutely no story on earth is ‘for everyone’. But it’s rare that writers truly understand how audience works. This can include pro writers and is the #1 reason why so many burgeoning writing careers fade away.

The writers who have longevity really nail …

  • WHO their scripts and novels are for (target audience)
  • WHY this target audience likes certain things & dislikes others
  • WHAT the writers need to do to get/keep this target audience

So today on our quest to become better writers, you need to research how audience works. Start by finding stories *like* the ones you write and working out the above.

MORE: Screenwriting Legend Billy Wilder’s Top 10 Writing Tips

Day 8) Get fast

Working out what you need to do to get faster at writing is a must in becoming a better writer.

For me, I discovered that breaking my projects down into daily word counts really helped. I also use the Freedom app on my phone, plus I switch off Facebook, Twitter, etc on my MacBook.

Pro writers say NEVER read through your previous day’s pages at the beginning of the session. This works well for me, too. I am only allowed to do this at the end of the day, once I have done my words.

I also found that forbidding myself from going down the ‘research rabbit-hole’ also made me a lot quicker, ie. …

Need a little research detail, or maybe a different word from the thesaurus? I AM NOT ALLOWED ONLINE TO DO IT.

I am also not allowed more than one minute to think about this. This means, if I get brain-freeze I simply highlight the passage in my writing and come back to it later.

MORE: How To Write Fast Like A Pro

Day 9) Do peer review

Today, it’s time to put ourselves out there and give something to the writerverse. Doing peer review reminds us others have the same struggles we do. It also gives us the chance to put everything we have learned about analysis and the craft into practice. What’s not to like?

MORE: Join Bang2writers to do peer review

Day 10) Create an ideas pool

Today, it’s time to create what I call an ‘ideas pool’. This means I never worry about coming up with ideas, or fixing existing ones … Because there’s always plenty more where those came from!!!

To do this, I use writing prompts and free writing. I literally shake stuff up and see what falls out of my brain. They may be whole stories, single moments, characters, snippets of dialogue, ANYTHING.

Then I interrogate those ideas, to make sure I am not simply rehashing anything accidentally. I also combine various ideas, tropes and themes to create new ones.

In other words, NEVER go with just your first idea! Why not give it a try yourself? Warning, it’s addictive and may take more than one day.

MORE: 6 Writing Prompt Tips, plus How Free Writing Can Help You Get Started

Good Luck!

Come to my next course …


Just some of the orgs B2W has read for

My course with LondonSWF, BREAKING INTO SCRIPT READING is perfect not only for wannabe script readers, but savvy writers who want to know how script readers work. Can you afford to miss out?? The next one is May 2-3, 2020 at historic Ealing Studios.

CLICK HERE for full details of the course (or on the pic on the right), including feedback from past delegates. We expect it to sell out again, so act now to avoid disappointment. See you there!!!

For B2W offers and free stuff first, join my EMAIL LIST

Share this:

Diverse Male Characters

When Lucy asked me to compile my top 10 diverse male characters, I said, ‘Only 10??’  There are so many great diverse characters, so getting it down to ten was incredibly difficult. In no particular order then, here are my Top Ten Diverse Male Characters from stories I have enjoyed over the years. Which are your favourites? Make sure you share in the comments …

1) Pray Tell, Pose 

Pray Tell from the TV series Pose, is a ball emcee and fashion designer. The love of his life is taken by aids, his close friend tests positive for HIV, and soon he too has to has to face that test! Pray owns his grief, makes his peace, comes back strong and carries on. Such a complex and interesting character. MORE: Top 5 Mistakes Writers Make With Diverse Characters

2) Egg Shen, Big Trouble In Little China

Egg Shen from the cult classic Big Trouble in Little China, is a tour bus operator and expert on sorcery. The guy has got some mad skills in the magic department and doesn’t think twice about joining the fight against the evil David Lo Pan. Shen is an amazing older character, and proof that age is but a number!

3) Oberyn Martell, Game of Thrones

Prince Oberyn Martell AKA The Red Viper of Dorne is a bisexual character from the popular book/TV series, Game of Thrones. The Prince of Dorne is skilled in combat and wears his sexuality like a badge of honour. Oberyn cares a great deal about his loved ones. His biggest virtue is that he’s a believer in justice, sadly this is also his biggest weakness.

4) Geordi La Forge, Star Trek: The Next Generation 

Lieutenant Commander Geordi La Forge from the space soap opera Star Trek, was born blind. Geordi frequently comes up with technical solutions and his ‘disability’ has often been a help rather than a hindrance with him turning down gaining his sight back on two occasions. His iconic visor affords him abilities that are often more valuable than sight.

5) Willo Ufgood, Willow

Willow Ufgood from the movie Willow, wants to be an apprentice magician but instead is forced to go on a dangerous quest as the protector of a special baby. There are many great characters who are also little people like the witty Tyrion Lannister from GoT and the mischievous employees of God from Time Bandits, but ultimately, I chose Willow because he’s a dad protecting a child and his ‘mothering’ is refreshing. MORE: 4 Easy Tips On Writing A Disabled Character

6) Mr Glass, Unbreakable and Glass

Elijah Price AKA Mr Glass from the movies Unbreakable and Glass, is a complex super villain. He was born with Osteogenesis Imperfecta, a rare genetic disorder which means his bones are so brittle he can hardly move around without breaking one. A comic book enthusiast and criminal mastermind, he’s also a deranged killer. Yikes.

7) Max, The L Word

Max Sweeney is a computer programmer from the TV series The L Word. This character is trans, but sadly, for many viewers Max was problematic and not a good representation of trans men. However, this character has opened the door by way of The L Word putting out a call for trans actors to audition for future roles. A step in the right direction.

 8) Captain Jack Harkness, Torchwood

Captain Jack Harkness is a bisexual character from the show Doctor. Who and spin-off series Torchwood. Jack has been referred to as ‘omnisexual’, which means he’ll also happily have sex with aliens who take human form. Jack is a flirtatious anti-hero and the first openly non-heterosexual character in the history of Doctor Who.

 9) Eric, Sex Education 

Eric Effiong from the series Sex Education has spawned a movement among school students with the line, “Wash your hands, you detty pig!” I even found Eric’s meme in the toilets of my daughters’ high school. Eric is loud, funny, flamboyant and sometimes shameless.

10) Walter Jr, Breaking Bad  

Walter “Flynn” Junior from the series Breaking Bad has cerebral palsy, as does the actor who plays him. (The character’s condition was considerably more challenging, so the actor had to change his voice and walk with crutches). Walter Jr has a moral compass unlike his teacher turned drug dealer father. He’s a typical teenager who idolises his father until he finds out the terrible truth. MORE: 5 Reasons To Hate Breaking Bad 


11) Chris, Get Out 

Chris Washington from the movie Get Out goes to meet the parents of his partner. He is perfect boyfriend material: smart, polite, an all-round nice guy. That is until he has to fight for his life. Chris’s instincts are on the money and this is what ultimately saves him. Phew!

Share your favourite diverse male characters in the comments …

BIO: Emma Pullar is a writer of dark fiction and children’s books. She also dabbles in screenwriting and has won/been shortlisted for several short story/script competitions. Follow Emma as @Emma_Storyteller as she lurks in the shadows, spying on people in the name of inspiration and creativity. Buy her latest book, Paper Dolls, HERE or click on the pic on the left.


For B2W offers and free stuff first, join my EMAIL LIST

Share this: