This is Neil with the Reel Deel. And the Deel is: THE SCRELLICE
Basically: the poem is poetry, the novel is prose, and the screllice is prosetry. The stories that have always been written as scripts for plays and films are prosetry. That is a fact which has yet to be understood. Shakespeare, the most famous writer of all time, wrote prosetry for the theater and William Goldman wrote prosetry for film. As do I. As do many of us.
That said, screllices are literature and, therefore, the scripts for plays and films are LITERATURE, along with being architecture. No question about that. They need to be PUBLISHED as mass market literature; the demand will have to be created, and marketed, but there was a time when novels were not a mass market, and that changed in the 19th century. Prose was also functional, all the way up until 1605, with the publication of Don Quixote. Faust, the most acclaimed work of German Literature, is a play that is meant to be READ AND NOT STAGED. And, in filmic form, The Last Words of Dutch Schultz by William S. Borroughs is the same way.
Now, here is the practical side of this: if screllices, especially in filmic, but also in dramatic, form were published as mass market literature, through marketing, the demand was created, and screenwriters were picked based on their success in writing screllices in filmic form, this would be a FAR, FAR better way of picking writers to write films, given that the spec market is pretty much dead, and, anyway, it's a random lottery.
Note that this is not novels/short stories chosen to be adapted; that's for picking STORIES to be adapted. This method I have proposed is for picking WRITERS.
What do ya'll think?? Let me know.
