How I write

Outside the box

When I come up with a new idea, people usually react this way:
"Wow, well... That's unexpected..."
I always look for atypical ideas, because I believe creativity is about taking risks. I am constantly pushing the limits of what I am allowed to do or imagine, especially for the two following aspects:

- Characters: my characters usually start with a "crystal-clear profile", which easily catches the audience's attention but finally end up being much more ambiguous, twisted or strange.

- Narrative structure: I like playing with narrative structures. Flashbacks, flashforwards, dramatic irony, branching stories... If a story needs any of these tricks, I'll be happy to use them.


Straight to the point

After 2 years in a French scriptwriting school and more than 3 years of professional writing, my writing skills have greatly improved. I have learnt these great principles:

- Cut your darlings: The more you write, the more you can be tackled on any words you have written, especially in scriptwriting.

- The big picture: It is easy to fall in love with details, but if you do not have a bigger picture in mind, if you do not know where you're going, you will end nowhere with fancy details.

- Be your story's bitch: excuse my French! When you are writing a story, you are not here to show off yourself, your skills, your knowledge... Every word you pick should serve the experience you want to deliver, nothing more, nothing less.


Between the lines

I am not writing manifestos, theses, or life guides. I do not like to tell people what to think or how they are supposed to react. I do not like pathos nor didactic stories. An author and their audience must be on an equal footing.

To my mind, a great writer is not only good with words, but also with the spaces left between the words. In fact, what I love the most about storytelling is how it allows people's imagination to wander farther than we would expect: the audience will fill the "blanks" we've left for them.
Consequently, my writing is usually about:

- Not having too much dialogue, and mostly the ones that will led to different interpretations.

- Subtext: I think the best stories are the ones with multiple layers of meanings, and subtext is a great way to achieve that.

- Ambiguous motives: My characters usually have at least two reasons to complete an objective: one obvious reason - determined by the context - and one underlying motivation - revealing the character's deeper thoughts, which are often contradictory. I really love paradoxical characters.



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