The forms in which we present visual media are changing all the time. From the development of 3D, to 360 degree cameras becoming more commercially available, and the evolving world of virtual reality.
This opens up a whole range of new options for writers to create worlds, characters and narratives that don't fall into a traditional film or television frame. To be able to do this however a writer first needs to understand what is different about the medium in order to prope
We looked at an outline for creating a world in a the previous post 'World Building: What to Include'. Now lets look at an example to see this method in practice. We will look at a continent sized nation called Ank'Celesti. This is a nation I have created to set a feature length script within. A document was created separate to the script or character information that focuses solely on the setting, we will examine a few of the sections from that document in this example. Fir
When you begin planning a narrative, in particular one not set in the "real world" you need to consider the environment your characters occupy. Everything from the culture, to the landscape, could become important, and you don't want to be writing then suddenly realise you have no idea what type of religion a region follows when it becomes relevant. This kind of thing can throw you off your stride and really put the brakes on your progress. Even if you are remediating a pre-e
“When I first started you would pitch a story because without a good story, you didn’t really have a film. Later, once sequels started to take off, you pitched a character because a good character could support multiple stories. and now, you pitch a world because a world can support multiple characters and multiple stories across multiple media.” - (Jenkins, 2009) What makes a story great, memorable and immersive? Whilst plot is vital it will fall short if your worlds and ch