As I mentioned in a previous article to the series Staccato: Inception, the novel actually began as a screenplay. Staccato was the third script I wrote back in the ‘90s. After the visual of the hands hovering over a piano keyboard, clasped in handcuffs captured my attention (a rendition of what is now the cover of the book), I knew I had the basis for a great sub-plot. Motion picture scripts are ideal for my way of writing—captivating visuals, intriguing characters and most of all, dialogue, dialogue, dialogue.
Those of you versed in screenplays know that you cannot go into too much detail, especially how the characters react to situations because this is the actors job, and even the mention of “ticks” or body language is not to be implemented within the pages of the script. Your job as the screenwriter is to merely provide the locations, vaguely set up the characters, and give them lines of dialogue to propel the action.
Novels are another beast and the major reason I switched to writing novels. Composing full-length prose allow you the freedom to create the characters and scenes as they come to you. It is important to completely flesh out locations, especially setting the scene at the top for the reader so they can put themselves there. The way you the writer indicates body language is also acceptable and necessary to make the characters come to life.
Hidden clues are also much easier to show. For example, the mere foreshadow of a clothes hamper which will later contain a bloody shirt can prove to be a captivating visual. Images are more lasting and hard-hitting when used with finesse as well. If you thoroughly give the reader mouth-dropping images, they will remember your book, and look forward to your next.
Most of all, it is a must for the novelist to convey realistic, lasting characters. Characters the reader can connect to, those with heroic capabilities, as well as human flaws, rife with ticks, fears and foibles. The screenwriter must rely on performers, directors and editors to convey these elements.
The novelist has more “power,” if you will, to present the complete picture that comes to them, an ideal representation of their original concept.
I plan to re-write the original screenplay for my second novel in the Steven Hawk/Inola Walela series, Ice on Fire, but not before this manuscript is available in printed format—the fleshed-out, full blown, complete version of the “Movie in my mind.”