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      "body": "<html>\n<p>It’s always easy for people to see and accept something done with\r<br/>mastery, but the appreciation for the work ethic to get to that point, because it’s\r<br/>not always or can’t be SEEN, doesn’t always resonate to the same magnitude,\r<br/>though a certain emotive specialness can be applied to the moments when it does.</p>\n<p>\rOne of the best things about creative writing, especially when you get\r<br/>good enough to be explanative about it, is that it’s a skill <em>without limit </em>on\r<br/>it; just your choice to stop or continue doing it for whatever reasons. Restrictive\r<br/>intentions from others doesn’t have to be allowed or isn’t always your\r<br/>position. When you’re of your own freethinking and creative control, you’re\r<br/>going to logically continue to invest in anything you considered an <em>unlimited\r<br/>skill.</em>\r</p>\n<p>To take it out of my element, we can look at other self-perpetuating,\r<br/>self-creating (regenerating) skills that can’t be limited by anybody else:\r</p>\n<p>1.      Playing a musical instrument or multi-instrumentalis\r</p>\n<p>2.      Auto-mechanic.</p>\n<p>3.      Computer science/coder.</p>\n<p>4.      Health coach/instructor.</p>\n<p>5.      Painting, drawing/being an illustrator.\r</p>\n<p>Next, an unlimited skill-built is one that can be <em>portable</em>, and\r<br/>whether identifying yourself in the wave of entrepreneurship, big or small or\r<br/>one form or another, being able to go places and express your skillsets are\r<br/>beneficial despite the instant access we may all get <em>too</em> excessive with\r<br/>when it comes to the internet. Internet itself is so to speak “Portable” or\r<br/>more than likely will be available somewhere (Wifi) where you’re going anyway,\r<br/>and so this covers all business/job hunting/work related things on there.\r<br/>Besides the work on the internet, the balancing off it with your skills has to\r<br/>be done as well. \r</p>\n<p>Finally, the advantage of building unlimited skills is one that can’t be\r<br/>“Fired” from. You build up so much it’s not just one option you’re undergoing\r<br/>regarding employment, as much as we want those safety parameters, more job\r<br/>security, given the possibilities of downsizing, becoming dispensable. A\r<br/>uniqueness in your skillsets allows you to back yourself up solely, extending\r<br/>into the freelancer territory.\r</p>\n<p>This is a time, especially at this next level of the internet age, to not\r<br/>be distracted by the mass of foolishness and useless information out there.\r<br/>There’s no way I could write this clean if that was the case. Letting people\r<br/>fall by the wayside that go too long not understanding the benefits of having\r<br/>gone through the “Hard part” in your journey is needed, because they’ll just\r<br/>continue to take your skillset for granted. \r</p>\n<p>You can live by life codes like this, and ones like, “Sometimes there’s\r<br/>no guarantees” so that it keeps your time-use in the correct directions:\r<br/>constantly building your skillsets, whether is being done in the most comforted\r<br/>position or not the one as desired. Either way, skills can build if thoughts,\r<br/>choices and actions are intended that way. </p>\n<p>Thanks for reading!</p>\n<p></p>\n</html>",
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      "body": "<html>\n<p>Regarding a screenplay, the blueprint of\r plotting and topical direction of the film no matter what the visual transition\r of it looks like, While studying the pre-existing, initial choosing and\r<br/>post-production process I was thinking on the originality of the screenwriter\r<br/>having the connection or “Collision” with the pre-existing film market. This\r<br/>market has already conceived what’s wanted when bringing a completed film to\r<br/>distributors. </p>\n<p>\rThis goes into\r the vision of the writer, director and the team not being hindered, and best to\r<br/>go on and write out or acquire the script that’s desired to display once done\r<br/>with production. Right after or preferably right along in the midst of it\r<br/>throughout the months of production, studying distributors and similar movies\r<br/>previous for specific ones is a must.</p>\n<p>For myself, I\r follow genre, themes and topic a lot as a navigation point. As much as many of\r<br/>us may want to be fully done with something, whether it’s a sample, a full\r<br/>layout or full spec script, it can be an advantage point to write a script\r<br/>intentionally in segments over a certain duration until it’s done. What’s\r<br/>crucial not to be lost on is you have to keep track of the changes in the film market\r<br/>local-to-international in that timespan, mainly directly paying attention to\r<br/>what distributors are buying. You might be dealing with some primary genres,\r<br/>themes and topics that will always be sought after at one point or another, so\r<br/>this being kept in mind might give your script everlasting advantage.\r</p>\n<p>Of course, as we\r know, this means you have to stay committed to the writing of that project’s\r<br/>time range every day. The more commitment to it the faster it gets done; not\r<br/>done in a rush, you get to <em>scripted “Gold&quot;</em>. With the imagined\r<br/>play-on-words kept, why not pre-determine, in your respectable ambition, that\r<br/>it’s <em>gold</em> leading to the <em>goldmine</em>?\r\r</p>\n<p>Glad to act on\r these myself these days and in recent years, though commitment itself was never\r<br/>an issue, just figuring out ideas, and a lot of external studies indirectly\r<br/>related or unrelated to the work of the scriptwriting itself. This is where\r<br/>accomplishment factors come from in writing a script, always able to be the\r<br/>blueprint for what people are going to see on screen and what has been seen,\r<br/>outside of rarer or experimental methods of filmmaking: Retro-scripting,\r<br/>Improv, actors intentionally doing it “Unscripted” for a few examples.</p>\n<p>For the outsider\r to the field and process, it’s just a bunch of words digitally or printed\r<br/>pieces of paper. This can be funny, on how it’s just the way it is sometimes:\r<br/>difference in perceptions and focus of different people as far as this goes.\r<br/>Only bad if they are anti-literacy and try to disrespect it, that’s problematic\r<br/>but not usual, most people I’ve encounter respect it, if not, not having an opinion\r<br/>on it at all. </p>\n<p>Imagine not being\r able to recognize scripted gold when you see it? Even the mindset of a producer,\r given they have good creative instincts and not willing to make just <em>anything</em>,\r<br/>has to recognize scripted gold in some sense, so to commit to the possible risk\r<br/>in financing it. As opinion-based as it can be to many others overall, someone\r<br/>out of the entire production team has to be informed or no respectable movies\r<br/>would ever get made! \r</p>\n<p>Doing something\r long-form beforehand can expand your thoughts into other shorter types of\r<br/>writing for faster results, like an article or stage play, despite original\r<br/>inclination to screenwriting.  \r</p>\n<p>No matter which,\r especially one expanding the ability to do the others, for us screenwriters, we\r know the amount of work that goes before and after the completion itself. When\r<br/>aiming to sell, studying companies’ distribution patterns before within and\r after is the next best move, to greater the chances of the project to be chosen.<strong> </strong></p>\n<p><strong>WEBSITES FOR\r FURTHER READING:</strong>\r\r</p>\n<p><a href=\"https://www.scriptmag.com/features/five-tips-to-poise-your-script-for-distribution\">https://www.scriptmag.com/features/five-tips-to-poise-your-script-for-distribution</a>  <a href=\"https://nofilmschool.com/topics/distribution-marketing\">https://nofilmschool.com/topics/distribution-marketing</a></p>\n</html>",
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