I worked with Paul Young of Literary & Screenplay Consultants from about 2005 to 2010 to learn how to write proper screenplays. He did a great job, but when you check Politics - Legal issues, you’ll find the reason I suffered brain damage: forced medication. I’m constantly working on recuperating, but essentially, years of life and opportunity went down the drain.
In total, before 2011, I wrote between thirty-five and forty screenplays. I’ve also written two fictional books, both of them now self-published using CreateSpace. I hope you learn from my work or simply enjoy it.
I sent one of my newer screenplays that I wrote after I suffered the brain damage to Paul and he did help me reconsider my writing. I needed it, because I understand my writing had become terrible once again. He did a great job and thanks to him I at least understand what it means to do a great job again.
I keep practicing also, among other things metaphor exercises, which I’m mostly only allowed to use visually in my screenplays, unless it’s a shorter way of evoking a visual image: “Mist thick as pea soup.”
Ironically, other exercises did help me get in touch with my senses and that combined with the metaphor exercises tends to result in hints of authorship when I can put my mind to writing. If you can, check my short stories for evidence. Writing for the senses also is the way you want to write action and scene descriptions: “Rawan stepped out onto the gravel and it pressed into his feet.”
Feel free to download these short stories for personal reading interest or pleasure when I share them. I write in both English and Nederlands (Dutch).
So, you also want to be a writer? Most books on writing are horse shit and come recommended by people that don’t want to write, like producers. Shy away from those books. In hindsight there are really only four books that stand out thus much that I’d recommend them as books you have to read. Check the titles in the list of recommended literature.
When you read these books, you do need to learn to recognize what questions lead to the proper answer. One question that in practice doesn’t work is, “What’s your character’s need?” What does work is, “What does your character want and how does this conflict with what your character needs?”
For instance, my main character of ROOSTER (my first feature screenplay) wants to get back into and make it with Rock’n’Roll, but when he steps into the spotlight again, thanks to one of his bandmates, he’s confronted with an outstanding debt with a drug dealer, even though he doesn’t want to have anything to do with the drugs anymore.