Posts tagged writing

McSweeney's: Seven Bar Jokes Involving Grammar And Punctuation

English class as the new stand-up:

6. The bar was walked into by the passive voice.

AP: AP Offers World Series Style Guide

Just so we’re clear, writers…

Better to say a player hit a home run, rather than he “walloped” or “blasted” or “cracked” it. Home runs are also homers, but avoid calling them “dingers,” “jacks,” ”bombs,” ”taters” and “four-baggers.”

Not that it matters much, as the Cubs are once again out of it… as of April. (via)

Go, Brewers! (begrudgingly)

McSweeney's: I Am The Actor Appearing In Nearly Every Commercial This Year

A funny piece from writer David Henne, for the TV commercial actors in your life.

As commercial actors, we alone possess the tools necessary to reach the highest levels of theatrical discipline. Our ability to recognize sensory stimulation, for example, is quadrupled that of the standard actor. During my tenure I have acquired over 10,000 facial reactions to register the three most prominent sensations of the trade: cotton-twill comfort, bargain attainment and chicken tonight. 

“Kurt Vonnegut On The Shape Of Stories”

It’s all about the science. (via)

This reminded me of a post at Kottke.org from last year: “Kurt Vonnegut’s Advice To Young Writers.”

NYT: Paddy Chayefsky's Notes For "Network"

It’s not often we get a peek at Hollywood screenwriting sausage being made, especially from a master craftsman. One of my all-time faves.

Scan of page 79 from Paddy Chayefsky's "Network" screenplay featuring TV prophet Howard Beale's inconic "I'm mad as hell and I'm not going to take it anymore!" dialogue.
Howard Beale’s iconic line from Chayefsky’s brilliant screenplay.

I don’t need time. What I need is a deadline.
Write drunk, edit sober.
Mark Twain

“On Punctuation”

by Elizabeth Austen


not for me the dogma of the period
preaching order and a sure conclusion
and no not for me the prissy
formality or tight-lipped fence
of the colon and as for the semi-
colon call it what it isa period slumming
with the commas
a poser at the bar
feigning liberation with one hand
tightening the leash with the other
oh give me the headlong run-on
fragment dangling its feet
over the edge give me the sly
comma with its come-hither
wave teasing all the characters
on either side give me ellipses
not just a gang of periods
a trail of possibilities
or give me the sweet interrupting dash
the running leaping joining dash all the voices
gleeing out over one another
oh if I must
punctuate
give me the YIPPEE
of the exclamation point
give me give me the curling
cupping curve mounting the period
with voluptuous uncertainty

© Elizabeth Austen, from The Girl Who Goes Alone, Floating Bridge Press, 2010. (via)

Forget every rule Syd Field, Robert McKee or any other screenwriting guru ever taught you. Except one: Never be boring.

“McGuffin by Hitchcock” - Issac Niemand

A clever, visualized (if misspelled) explanation of this most elemental of cinematic plot mechanisms, in the undisputed master of suspense’s own words (and voice). (via)