Many thanks to the peeps that emailed to wish me a happy birthday yesterday… 28. Yuk. I was supposed to be a squillionaire by now and have my own TV series like Lynda La Plante. But let’s brush over that bit and concentrate on the good bits – successful reading business, kids, husband, yeah that works for me. But I better be a squillionaire by next year else I’ll have to release said husband and kids back into the wild since they’re obviously the ones distracting me from greatness.
Right, I’m off to sunny Bournemouth tomorrow… FOREVER! That’s right, the evil moving saga is now officially over (bar the actual moving of course) and we are out of the depths of Devon and into…The depths of Dorset. I wonder if the sheep speak a different language over there?? : P
Anyway, just ‘cos I’ll be preoccupied for the next few days doesn’t mean you lot can’t have your usual ruckus, so based on previous inflammatory posts here are some debates for you to fight it out over until my return. You may answer as many of these as you like and please do cause a scene. I thank you.
1. What constitutes a spoiler?
2. Which genre is the best?
3. If a scene is “essential” to the plot, why can’t it be removed? What is special about it? (no old adages like “it pushes the story forward” on its own please – let’s delve into specifics). Is there any such thing as an essential scene in a) an actual movie (can it always be re-edited?) b) a spec (can it always be “reimagined”)?
4. What makes a great title?
5. What is constitutes great structure – ie. how do we avoid those “saggy” bits? What about those alternatives to The Three Acts? Is good structure a question of preference or experience? etc, etc.
Come on then, if you think you’re hard enough that is… ; )