It is striking how blindly and shortsightedly some "experts" in the writing shop try to give recipes for the "release" of successful works for the potential classics of the genre. Usually it all boils down to entering the maximum number of violent or sex scenes, the density of which in the overall storyline should have "action-overloaded" indicators.
Of course, participants in the thematic consumer market of the middle (and above) age remember when the film industry could not efficiently shoot materials from printed versions of works, and books were indeed more in demand. After all, the scenes described in the author's texts allowed each reader to create their own imaginary course of events, which in the most natural way was more colorful and believable than the "cinematic" counterparts.
But over time, this objective lag of film production from print media leveled off, and now video began to prevail over printed materials. After all, our physiology is more optimized for the optical perception of pictures of the world, and not their versions encoded into text. The point is that in videos in a shorter period of time and in the best form from the point of view of the effectiveness of perception, information is transmitted from the carrier to the conscious function of a person.
Thus, all "popular" textual works from the point of view of "specialists" in the thematic workshop are considered exclusively as scenarios for potential films. This fundamentally distorts the very idea of writing, which is not only self-sufficient, but is also the engine of thought in any kind of culture and art.
However, this brief review only indicates the power of the word, which cannot be infringed by any opportunistic decisions. Therefore, all textual works should be primarily aimed at the uniqueness of the author's language, creating an unshakable bastion for the competitive arts.
That is, it is the power of the word, which is clothed in a universal format for transmitting information, that should overthrow the film industry from the pedestal. Only for this it is required to focus the reader not only on the storyline, but also to create an exceptional atmosphere of the works, based precisely on the style and creativity of word forms. This argument can in no way be surpassed by video distribution, despite the technological equipment and consumer interest that has formed today.
So, the formula for literary success is this: wordplay is stronger than technological versions of the film industry! Or so - a talented writer is more equipped with art than the largest film budget!
