TYLER WEAVER is a transmedia producer, moviemaker, and writer who uses his experience in marketing, grassroots movements, and the arts to immerse audiences in works that are a mix of classical and modern blended through his own unique sensibilities.
He's currently in development on three projects, including WHIZ!BAM!POW!, a transmedia love letter to comic books (which gives him an excuse to put his 20+years of being a comic book nut to good use).
Website: http://tyler-weaver.com
You’ve been rewriting like a madman(woman). You have killed babies. You stuck your character in a tree and threw rocks. Then scratched that out and shot at them with a gatling gun. You put your characters through a living hell of their own creation, created out of their own wants and needs, their own goals…
“If you’ve got a problem in your third act, your problem is in the first act.” So said my favorite writer/director, Billy Wilder. Wilder is, without a doubt, one of the finest talents the film industry has ever seen. He’s renowned for his pay-offs that bring the story full circle, usually doing it in one…
We’ve got our definition of transmedia storytelling which is: the crafting of stories that unfold across multiple media platforms in which each story piece deepens the whole – but is capable of standing on its own – giving the audience the choice as to how deep into the story experience they go. Let’s break that…
Two types of choice make up the storytelling world of today: The first is the creator’s choice: the choices that we as content creators make to build the world of the story we’re telling. The second is the audience’s choice: limitless, and changeable at the click of a mouse or swipe of a finger. The…
Since we’re talking rewrites, I’d like to share with you a little piece of my rewriting method. I call it the “Thinklikea” method (note this has nothing to do with Ikea, or putting gun to head because of that little stick dude in the Ikea instruction manuals). Here’s how it breaks down… First Draft: Thinklikea……
As screenwriters, we already have limitations on us in terms of format. Sometimes we have limitations when we write for others, giving them what they want (with a nice dash of what we want, of course). As writer/directors, we have budgetary limitations on us (resulting in a smorgasbord of sub-par, single-room films with boring characters,…
I’m incredibly honored to bring you my first interview on this site, with Frank Rose, author of The Art of Immersion: How the Digital Generation is Remaking Hollywood, Madison Avenue, and the Way We Tell Stories, published by Norton in 2011. In this interview, Frank and I discuss the new generation of “the people formerly…
The engines rev. That familiar guitar tune kicks up. Cars zoom past the screen, accompanied by silhouetted characters standing all cool-like. Because silhouettes are cool. Then, a non-descript American accent. Wait a sec. Then, three dudes on a stage. Still no accent. There’s no life. It’s just dudes and cars. Which is boring as…
Let’s take a brief interlude from our discussion about rewrites (Just Walk Away, The Delete Key Kills the First Draft). At this point, you’ve been with that initial germ of an idea for awhile. Maybe a month. Maybe a year. How’s the relationship going? Is it a love story with a happy ending; a saccharine-sweet swan boat…
In my last post, I talked about one of the most important steps you take as a writer: walking away between the first and second drafts so you an approach the rewrite as objectively as possible. Now, here are three guidelines (I hate to say rules) I live by when rewriting. Your Enemy Is Now…
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