It’s safe to say, I think, that screen writing is different from novel writing in one manifest aspect: A screen writer has to begin by being a master of ‘show, don’t tell’; a novelist may be able to fake mastery until they grow into it.
The path to story mastery lies this way.
Graeme Simsion, author of The Rosie Project and The Rosie Effect, is a writer of screenplays, short stories, novels and a couple of short plays, an occasional producer of films (primarily those for which he is screenwriter), and husband of writer Anne Buist. The father-of-two is a former IT specialist (data modeling) and founder of a business and IT consultancy. He once once gave a conference presentation dressed as a duck, has walked the Chemin de St Jacques/Camino de Santiago/Way of St James (a 2000 km trip from Tramayes, France to Santiago) with his wife, and played harmonica with a band. For more interesting facts, visit his website, or follow him on Twitter or Facebook.
Monique: What prompted your move into writing fiction?
Graeme: I was inspired by Joe Queenan’s book The Unkindest Cut to make a low-budget feature-length movie (shot on a handycam). I was in my…
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