Today I’m handing over to Glenn Benest
, an award-winning horror writer whose screenplays have been directed by the likes to Wes Craven. Now Glenn Benest has teamed up with Dale Pitman, co-writing a horror novel called Ink. Here’s the blurb:
His studio has become his refuge and his prison – a place of boundless imagination and lonely isolation. Brian Archer, creator of a series of successful graphic novels about a vengeful supernatural being called “The Highwayman,”
has become a recluse after the adoration of a female fan turned to rage and violence.
But all that changes when he meets a renowned and beautiful illustrator, A.J. Hart, who carries emotional scars of her own. Their work together is fueled by the unrequited passion they share and a mysterious bottle of black ink that arrives one day at Brian’s doorstep.
The impossibly dark liquid has mystical properties, making their characters appear so real they eventually come to life, reigning terror on those who mean them harm and if not stopped—threatens to unleash an apocalypse on all mankind. Brian must break free of his self-imposed exile and solve the mystery that allowed these terrible creatures into the world.
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The difference between writing for film and writing fiction
by Glenn Benest
As you may know, I’ve been a professional screenwriter for many years with seven produced screenplays, including two scripts I wrote for acclaimed horror director Wes Craven.
We started this project as a screenplay and though we won a number for awards for the screenplay we never seemed to get it over the finish line. Our manager, Mary Louise Gemmill at Writers Ascending, thought all along it was better suited as a novel and with her encouragement, that’s what we did.
The difference between these two art forms is enormous, as my writing partner, Dale Pitman, and I discovered. For one thing you have to decide who is telling the story. Do you do it in the first person, the 3rd person, an omniscient point of view? This takes time and probably some failed attempts until you get it right.
But the great joy of writing fiction is that you can delve much deeper into the characters you’re writing about. You can expose their thoughts, something you don’t have the luxury of doing in film. As a result, you really can get under their skin, what they’re really thinking when they might be doing completely the opposite of what they’re really feeling or contemplating.
The other great luxury you have in fiction is that you can delve into the characters’ backstories in a way you can’t in film and television. We call this in screenwriting – exposition. And it is the hardest thing in the world to hide the exposition you’re trying to get in (i.e. what happened five years ago). The reason for this is that screen story really bogs down when you go into some long-winded explanation of the backstory of your characters. You have to keep the story moving.
But in fiction you don’t have that problem. The reader is much more willing to let you write a chapter about what happened five years ago as long as it’s interesting and has conflict. The backstory brings so much more dimension to the characters than you will ever achieve in film.
This is probably why most people don’t like films made about their favorite books. It’s because the books were so much richer and had greater depth of character and texture than you can achieve in a film.
So was it hard to go from screenwriting to the writing of a novel? Absolutely. Was it rewarding? More than I can say.
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