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Write On!
January, 2008

W.R.Benton Western Fiction

Writer IN Charge
Writer as producer
By  Ken Robinson

Who the heck wants to be a producer!
In the film industry they’re the only person on the creative team that doesn’t get to be creative. Unless you count creative accounting, and I wouldn’t suggest it unless you want to join the country club where the windows are lined with iron bars.
The producer runs around like a chicken with it’s head cut off, trying to get and then keep a production productive. Here is a sample day for a producer:
Trying to come up with the money to pay everyone; while keeping makeup from tearing wardrobe's head off; while trying to find out why the construction crew painted the set walls puke green instead of the puce green; and motivating your lead actor who has decided halfway through the shoot that he's bored with it all.
And to top it off you have the writer standing behind you saying, “That’s not what I wrote. It should be white beans instead of brown beans. The metaphor loses all meaning if you use the brown beans in the soup.” But then again that’s probably why they bar the writer from the set. However, if the screenwriter wants to be there to make sure the beans are white instead of brown, she's going to have to produce or direct the movie herself.
This rule should apply to everyone who writes: produce your own work whether it be poetry, short stories, novels, or plays. And how do you do this? What is producing anyway?

It comes down to networking, schmoozing, and more networking. In other words, get to know people who can help you in your career trajectory. Now you're asking, “Why is that important? If I’ve just written the next great American novel, all that needs to happen is someone has to read it.” Before it can become the next great literary masterpiece, someone has to read it. Do you know how long most great American novels took to get published? Especially from no one anybody had ever heard of before?
You never know who is going to be able to help you along in your artistic endeavours whether it be technically, artistically, or with connections. Someone may be able to get your manuscript read by their friends fourth cousin who is an assistant in the publishing company and they’re looking to get their name made. Or someone's great aunt four times removed can help you with the fourth stanza of your sonnet that has given you writers block for the last four years. Or maybe this someone knows who is catering for Cats as it passes through town, and they know just what sweet will get the producer in the mood to read your play.
So we all have to be producers of our own work. Who else is going to have the passion to get your work out there and keep pushing when it doesn’t become that overnight success that none of the great American novels were initially? It has to be you until you get that big agent. Even then, you’re still your biggest promoter as there is only one you but the agent has a bursting stable of very talented people they’re trying to keep in the lime light.
Relying completely on other people is a recipe for writer's oblivion. Like a movie producer, be on-site for the success of your book. Take charge and Write On!
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Ken Robinson, IN's Write On! columnist, winner of Bare Bones Int'l Film Festival Best Screenplay Award, has written over 10 screenplays, 3 episodes of TV series West Law, is executive producer for the feature Sacred Bloods, board member of the Oklahoma Film Society, founding member of Oklahoma Movie Makers. His email address is:

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© Freelance Writing Organization - International 1999-2049

Write On!
IN This Issue
LA Bound
Part II: Secret Origins Of A Screenwriter
Part I: Secret Origins Of A Screenwriter
Time Management
The Well Of Creativity
Flogged By A Rooster
Write Form
Why Be A Writer?
Hoping For Rock Bottom
Strong Characters

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Writer’s Block
The path to inspiration starts
Upon the trails we’ve known;
Each writer’s block is not a rock,
But just a stepping stone.

Poetry Is Not
Penned to the page
Waiting for us to admire.
It is only a lonely thought
Caught by tears on fire.

Silent Echoes
A quiet rhyme upon a page
Is what a poet gives;
Some gentle words whispered in trust
To see if memory lives.

Bard From Deadlines
What makes a poem finally work
Is not the time it takes;
It’s how the poet used the muse
To prophet from mistakes.

Be Mused
The art and craft of poetry
Are not so far apart;
The craft comes from the cunning,
The rest comes from the heart.

Fine Vintage
Don’t plant your poem on the page
As though you’re hanging drapes;
It’s shape and flow should come and grow
Like wild summer grapes.

Getting It Write
Writers write what they know best,
Their passions, fears, and dreams;
Writers rarely write about
What other call their “themes.”

Double Vision
A writer’s life is paradox,
It’s more than what it seems;
We write of our reality,
The one inside our dreams.

The echo of a promise,
The thunder of a sigh,
The music of a memory,
A child asking why.

Letter Perfect
Twenty six symbols arranged on a page
Can send a soul to heaven or torment it with rage,
Can free a fragile world or hold it in its net--
The power and the magic of the mighty alphabet.

The Write of Passage
The jump from writing just for fun
To getting paid for it
Begins when you first realize
You know you’ll never quit.

It is not the magic of his wings
That sets us free from our bond.
It is the muse within ourselves
That lets our words lift us beyond.

Photo Poet
Consider your mind the darkroom,
Consider your life the lens,
Consider your eye the camera
On whose focus the poem depends.

Rising Moon
A poem is a rising moon
Shining on the sea,
An afterglow of all we know,
Of all we hope to be.

Star Light
Writing a poem,
Reaching a star,
In making good art
We find who we are.

Spider Web
A poem is a spider web
Spun with words of wonder,
Woven lace held in place
By whispers made of thunder.

The final draft upon the screen,
At last my poem’s through;
A verse of only four short lines--
I rewrote twenty-two!

Read All Of Charles Ghigna's Poetry at

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