It is important to differentiate between solvable and unsolvable problems. The solvable problem is, simply, a problem, whereas an unsolvable problem is called a Dilemma. In stories, as in life, we cannot tell at the beginning whether a problem is solvable or not because we cannot know the future. Only by going through the process of problem solving can we discover if the problem can be solved at all.

A wonderful perspective on what is really going on in well crafted stories.

OK, sorry, this is my third link in a row from Scott’s site, but this just made me laugh out loud (you know, LOL):

If every wannabe screenwriter had to read Anna Karenina and watched Andrei Rublev as a prereq, I can guarantee you that my job would’ve been more fun. So stop reading Blake Synder and start reading Tolstoy. You’ll learn more, become a better writer, and lead a richer life.

It’s a quote from a post on 6 These about Spec Scripts that is well worth the time reading. As is Anna Karenina.

Writer Jonathan Franzen on the distraction of the Internet:

It’s doubtful that anyone with an internet connection at his workplace is writing good fiction.

Having dropped off of Facebook, Twitter, et. al. for the past two months I can tell you that this is absolutely positively true. I’ve been actively pursuing my own writing projects and can’t for the life of me imagine how someone can do it professionally, full-time, without turning these things off. I have this kind of thought that the reason a lot of movies these days are not that good is because everyone is so distracted by all these micro-blogging services. They can’t maintain a thought long enough to craft a meaningful scene. There is just no way you can concentrate long enough and focus your attention on the craft of writing if you are being interrupted all the time. The quality is just not that good.

I keep coming back because there is a WEALTH of information out there. But when it comes to actually sitting down and writing, that stuff has to go off.

(via GoIntoTheStory)

Scott Myers takes an interesting look at a relatively “hot” genre for spec scripts these days - the contained thriller. Like the man-in-a-box thriller, Buried, Killer supplies movie execs with another with another potential high-grossing/low-budget thriller IF the story is even that good.

I have no idea about this latest sale, but while Buried was very well written it still lacked the kind of argument a complete story makes. It was a tale, albeit an exciting one, but one that is quickly forgotten as soon as the curtains close.

The problem with these contained thrillers is that they often leave out the Impact Character and any kind of significant relationship the Main Character would have with them. As such, they have to invent some reason or plot device that forces them into change at the end. It feels false, often manipulative, and ultimately not very meaningful. I still think it can be done, you just have to make sure you have that alternative viewpoint on the world impacting the Main Character’s personal justifications. There has to be some emotional reason for them to grow.