When I was in University (The Open Window), I studied Screenwriting and Creative Writing. I was lucky enough to experience Doctor Stavros Halvatzis as my lecturer and mentor in the craft.
I decided to contact him again and ask some burning questions about the writing industry and his experience.
Let’s dive in.
Q. What inspired you to pursue a career in writing (both as an author and as a screenwriting lecturer)?
A. Stories have always been important to me. Ever since my parents read Alice in Wonderland and Moby-Dick (in Greek!) to me as a child, I was enchanted by the worlds stories such as these ignited in my mind. After studying animation and writing novels, the next step was to teach what I had learnt, while still keeping my hand in.
Q. You’ve lived in many countries across the world. Does your experience of growing up in diverse places affect your writing in any way?
A. Sure. You get to meet and understand people from other cultures and their traditions, and that makes you a better human being and storyteller.
Q. You’re an experienced screenwriting lecturer; what would you say are the most common mistakes writers make?
A. Forgetting to write from the inside out; forgetting to use subtext to ignite emotion, and therefore, reader/audience participation. The plot is important, but that’s only the tip of the iceberg. Emotions and subtext generated by the inner story are the fuel of the story.
Q. Your novels often explore complex scientific ideas, like time travel in The Nostalgia of Time Travel. How do you balance scientific accuracy with storytelling?
A. Research. If you’re writing ‘hard’ science-fiction that’s even more important, but ultimately, if you have to choose between authenticity and dramatic impact, the latter ought to win.
Q. What do you consider to be the most essential elements of a well-structured story?
A. Theme. Goals. Internal and external obstacles working in tandem. Knowing how to orchestrate emotion. Having as unique a story premise as you can muster from the get-go. Understanding story structure.
Q. How do you see the role of AI and emerging technologies influencing the future of storytelling and screenwriting?
A. It will change everything! It’s not that AI will put us all out of a job. But someone “collaborating” with AI, while you stand to the side, will.
Q. What trends in storytelling, either in novels or screenplays, do you think are under-explored or misunderstood?
A. We need originality and off-beat content in stories. I think there will be an explosion of hundreds of thousands of independent AI-assisted creators putting out excellent content, which will keep improving. This will democratise an industry that was protected by the ramparts of rich studios, streaming-services, and their self-appointed guardians, where only a few were allowed in and out through the gates. This will change with truly independent film-makers who can hold their own.
Q. If you could collaborate with any writer or filmmaker, past or present, who would it be and why?
A. Sir David Lean and Stanley Kubrick. Christopher Nolan, if one is to keep the collaboration to the living.
Q. To close us off, what would be the best tip for aspiring writers?
A. Find your ‘voice’. Use your imagination. It’s your greatest asset. Be as unique and authentic as possible. Know how to evoke emotion. Have a moral code. Understand pain and joy, and use them to bring your characters to life.
Bonus Information
If you love Stavros’ work, you’ll love his YouTube channel!
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