(Week 9)
ACTION
STORY is ACTION.
- Action encompasses any kind of movement, activity and interaction between the characters and also between the characters and their surroundings.
- Write visually.
- Talking about how one feels is not as powerful as illustrating why one feels the way they do through action.
FILM is BEHAVIOUR.
- Action is the manifestation (takes the form) of behaviour.
- The complexity of the human psyche and interaction is better understood when it is possible to watch the actions, nuances (subtlety) and reactions of the characters. [*nuances, small gestures like drinking from a cup with your pinky sticking out]
DYNAMIC ACTION
- Has the potential to enrich the experience of the audience by the heightening the stakes and increasing the tension.
MOVING PICTURES
THE POWER OF ANY STORY LIES IN THE NARRATOR’S ABILITY TO PROJECT A MENTAL PICTURE FOR THE AUDIENCE.
Character must behave in a reaction
How do you convey visually any sense of inner conflict or emotion?
(Week 8)
ELEMENTS OF DIALOGUE
- Dialogue reveals character
- A character will talk about himself (cuz we know ourselves best!) and other people will talk about him
- DIALOGUE ESTABLISHES RELATIONSHIPS BETWEEN CHARACTERS
- Once you’ve established your main character’s POV, you can use dialogue with other characters to show that they have other attitudes, creating opposite/alternative POVs.
(Character speaks with different people in different ways, tones, choice of words…) - This helps to create and sustain the element of conflict between characters.
- Conflict is almost ALWAYS caused by whatever we SAY.
- GOOD EFFECTIVE DIALOGUE WILL MOVE THE STORY FORWARD
- DIALOGUE COMMUNICATES FACTS AND INFORMATION TO THE AUDIENCE
- It conveys essential exposition.
- Characters will talk about what happened, establishing the storyline.
- DIALOGUE COMMENTS ON THE ACTION
- It TIES the SCRIPT together
- - It is one of the devices that YOU as a writer can use to expand and enlarge your characters.
“If you can see it or hear it, don’t write it.”
Dialogue should be used sparingly. Talk is CHEAP.
Never tell the audience what they can see for themselves!
DIALOGUE IS NOOOO SUBSITITUE FOR ACTION.
In Hollywood, when they look at a page and it’s got too much black, too much ink on the paper, they say: “SHIT! IT’S FREEZE CAMERA TIME!”
COMMON MISTAKE:
– Students sometimes never achieve a level of competence as they tend to reproduce conventional spoken language, long statements of “REAL TALKING”, and defend their decision by telling us this “It’s how the character speaks.”
- Students tend to create radio shows with images.
What are instances of communication, not counting Dialogue?
- facial expression
- writing
- sign language
- eye contact
- gestures
- ALL THESE ARE UNDER BODY LANGUAGE
GOOD DIALOGUE is not somebody’s ability to write authentic speech as heard in real life.
If that was all there is to it, you can just push a button on the tape recorder and then go collect your Oscar.
GOOD DIALOGUE is the illusion of reality.
You’ve got to know how to edit what people say without losing any of the spirit.
BAD DIALOGUE:
- Unfocused
- Too long winded
[FILM IS A VISUAL MEDIUMMMM – A screenplay is a story told in pictures]
EXERCISE: WRITING DIALOGUE
(Richard enters the house, he sees that the room is pitch black, suddenly there is a voice.)
Richard: Honey?
Randi: Where were you?!
Richard: A meeting at work held me back.
Randi: Work? What work? I called your office, but no body picked up. So where were you? (Sarcatic Tone)
Richard: Oh.. We were at an external conference. It was not in the office.
Ran: ARE YOU LYING TO ME? TODAY I HAD TO PICK THE KIDS UP, FINISH MY PROPOSAL, DO THE DISHES AND PUT SO MUCH EFFORT IN COOKING DINNER BUT MY HUSBAND DIDN’T HAVE THE DECENCY TO CALL ME?!
Richard: Hon, I was just kidding. It was just a couple of drinks my friends. I just forgot to tell you.
Randi: Forgot to tell me that you missed out our anniversary dinner with our friends?
Richard: I’m sorry hon.
Randi: Sorry? Sorry for what? Whats the point of apologizing, when you dun take the effort!
Husband: No, honey, that’s not it…
Wife: WHY IS LIFE SO UNFAIR TO ME?!
- – -
Good dialogue captures the spirit and essence of “real life” conversation without all the unnecessary chatter that would otherwise be boring.
(Week 7)
Review Exercise: True & False Stories
- A true story is not necessarily a good story.
- Good stories have to be worked and re-worked.
- True life stories do not offer neat and relevant ending.
- Life is unpredictable.
- In a story, we can and must control the events and sequences so that it gives the appearance of being like life. (Not about how much you give out, more of how much you control)
CHARACTERIZATION: DEFINING THE CHARACTER
- EVERY STORY BEGINS WITH A CHARACTER.
- The character has to be the heart, the soul, and the nervous system of your story.
- It is through your characters that your viewers experience emotions.
- It is through your characters that they are touched.
- LE MANTRA OF CHARACTERIZATION: Without a CHARACTER, there is no ACTION. Without ACTION, you have no CONFLICT. Without CONFLICT, you have no STORY. Without STORY, you have no SCREENPLAY.
DEVELOPING CHARACTERS:
- When developing a character, ask yourself:
- Who is your character?
- What does he want?
- What is his quest?
- What drives him to the resolution of the story?
- ESTABLISH YOUR MAIN CHARACTER.
Characters should have a 3 Dimensional structure.- Physiology
- Sociology
- Psychology
a) PHYSIOLOGY
- Sex
- Age
- Height, weight
- Colour of hair, eyes, skin
- Posture
- Appearance
- Defects, abnormalities, deformities, birth marks, diseases
- Heredity
b) SOCIOLOGY
- Class (lower, middle, upper)
- Occupation: type of work, hours of work, income, condition of work, attitude towards organization, suitability for work
- Education: amount, kind of schools, marks, favourites subjects, poorest subjects, aptitudes
- Home Life: parents living, earning power, orphan, parents separated/divorced, parents’ habits, parents’ mental development, parents’ vices, neglect, character’s marital status
- Religion
- Race, Nationality
- Place in the community: leader among friends, clubs, sports
- Political Affiliations
- Amusements: hobbies, books, newspapers, magazine he/she read
c) PSYCHOLOGY
- Sex life, Moral standards
- Personal premise, ambition
- Frustrations, Chief disappointments
- Temperament: choleric, easy going, pessimistic, optimistic
- Attitude Towards Life: resigned, militant, defeatist
- Complexes: obsessions, inhibitions, superstitions, phobias
- Personality: extrovert, introvert
- Abilities: language, talents
- Qualities: Imagination, judgment, taste, poise
- I.Q.
- What is the deep and personal secret that this character has which he is desperate to protect/hide?
DEVELOPING CHARACTERS
INTERIOR
The interior life takes place from birth until the moment your story begins.
It is a process that forms character. [when you start formulating your character from birth, you see your character build in body and form]
- How old is he when the story begins?
- Where does he live?
- Does he have siblings?
- What kind of childhood did he have?
- What was his relationship to his parents?
- What kind of child was he?
- Is he married, single, widowed, separated or divorced?
EXTERIOR
The exterior life takes place the moment your story begins to it’s conclusion. (what the viewers see)
It is a process that reveals character.
- Who are they and what do they do?
- Are they sad or happy with their life?
- Do they wish their life was different?
YOU MUST CREATE YOUR CHARACTERS IN RELATIONSHIP TO OTHER PEOPLE OR THINGS.
ALL DRAMATIC CHARACTERS INTERACT IN 3 WAYS:
- They EXPERIENCE CONFLICT in achieving their dramatic need. [e.g. Need money – Rob a bank, a store, a person?]
- They INTERACT with other CHARACTERS. [Either in an antagonistic, friendly or indifferent way]
- They INTERACT with THEMSELVES. [e.g. He overcame his fear of being caught by pulling off the robbery successfully]
HOW DO YOU INVENT CHARCTERS?
Try turning them upside down.
A monk who is devoted to his religion…
… but is a football fanatic.
A serial killer…
… whose obsession is to kill other serial killers
A common street rat…
… who loves to eat and cook only fine food
(Week 5)
Storytelling Tool 2: Memory
Tip For writing
Write what you do not know because you will find some part of you that does know.
There’s always room For personal discovery!
A storyteller should be concerned with the potential of every experience
Everything about you – where you were born what food you eat, the bump on your forehead – your experiences are unique and irreplaceable.
Many of your experiences are universal and translatable and can be used in any location.
Tip:
If you don’t know what to do with a character, make him yourself for a while.
see how he relates to the world he has been thrown into
Plunder your own personal background!
the things that happen to you as you grow up and the things that are currently happening to you make terrific story sources
Storytelling Tool 3: Experience
All people have fragments of stories
These potential ideas prompt your desire to know more
Respond emotionally and intellectually to what you heard.
Good stories are born in the heart, not the head.
Remember the role of an audience
After all, you ARE the audience
(Week 4)
Parts of tragedy
- Plot
- Characters
- Thought
- Diction
- Melody
- Spectacle
According to Aristotle, Tragedy. . .
- Creates a cause- and – effect chain that clearly reveals what may happen
- Arouses not only pity but also fear, because members of the audience can imagine themselves within the cause – and – effect chain.
- Plot is the most important Feature of TRAGEDY
What is Plot?
- Plot is the arrangement of incidents
- It is not the story itself, but the way the incidents are presented to the audience
- The structure of the play
Beginning
- The incitive moment
- It must start the cause and effect chain.
Middle
- Climax
- It must be caused by earlier incidents and itself causes the incidents that follow it.
End
- Resolution
- Must be caused by the preceding events but not lead to other incidents
- The end should resolve the problem created during the incident
Episodic plots
- According to Aristotle, the worst kinds of plots
- The acts (Episodes) succeed one another without probability or necessity
- The only thing tying together the events in such a plot is the fact that they happen to the same person
Simple Vs Complex plots
Simple has only a change of fortune
complex has a reversal of intention “Peripeteia” and recognition Anagnorisis connected with a catastrophe
Character
- In the ideal tragedy, the protagonist will mistakenly bring about his own downfall
- not because he is sinful or weak — but because he does not know enough
- This lack of self knowledge is called “Hamartia”
(Week 3)
- A story must have a beginning conflict and an ending.
- You should use lesser words to tell what you are trying to say.
- 50 word helps to get straight into the point and not to use a longer way to go about.
- whenever you write the constraints are supposed to help you write better.
- Aristotle A Greek Philosopher
- The founder of storytelling
Tool 1: Observation
- Observe in a conscious way
- Develop the ability to see and record movements, physical characteristics and settings.
- Two Essentials you MUST have for observation
- Adopt a Keen Eye
- Develop a natural SENSE OF CURIOSITY
Things I should ask when I am writing
- Whom am I writing about?
- Who is my character
- What is he/she/it like?
- What does He/She/It Do?
- What happens to Him/Her/It in the story?
- People rarely observe familiar people or things closely
- Most people pass through the day with 20%- 30% awareness
- Mindless Observations Vs True Observation
- Observe in a conscious way
Develop the ability to SEE and RECORD people:
- Their Movements
- Their Physical characteristics
(Week 2)
Conflict is the central feature of the screenplay
- Man against man
- Man against the environment
- Man against self
- Its variations of sex, age, religion and culture which provide variety to theConflict.
Conflict = Change
- Change is common to everyone.
- Change is universal
- bodies change
- seasons change
- lives change
- relationships change
- feelings change
- locations change
- technologies change
As universal as change may be, people often resist it for fear of the unknown. People must learn must cope with change if they want to survive. The action in drama depends on conflict.
Definition
(opposition of persons or forces)
It is the interaction of opposing ideas, interests, or wills, and creates the plot.
Plot cannot be constructed without conflict. As your characters attempts to reach their goals, they come into conflict with each other. The end of the story nears when the protagonist and antagonist approach their goals and the conflict rises to generate maximum suspense and excitement.
- As universal as change may be, people often resist it for fear of the unknown.
- People must learn to cope with change if they want to survive.
- The action in drama depends on conflict.
- Plot cannot be constructed without conflict
- As your characters attempt to reach their goals, they come into conflict with each other.
(Week 1)
The 3rd person/present tense:
Eg.: “Mark picks up the gun and holds it in his hand. It begins to tremble, as if alive.”
- -It presents a more immediate and urgent feel to the material.
- -Commonly used in:
- -Screenplays: The story/film is unfolding as we read it – Fosters a more urgent and immediate feel to the story.
- -Thriller and suspense genres
Passive vs Active Voice
Passive Voice – Uses weak verbs, tells what’s happening in the character’s head, distances the reader from the story.
- “The sky was blue with fluffy white clouds.”
- “Mark was angry with Jane for tricking him into helping her.”
Active Voice – Uses strong action verbs, shows the action, uses an immediate sentence structure, conveys the story in a lively manner.
- “Fluffy white clouds drift like cotton in the ocean blue sky.”
- “Mark slams the door, stalks across the room, and calls Jane a bitch.”
Use Active Voice for scriptwriting.
- Active Voice is more exciting and describes what is happening. E.g. using similes.
Tips for writing:
- -Everyone will not have problems coming up with a list of excuses for procrastination.
- -The biggest problem is GETTING STARTED.
- -If you have a work in progress, NEVER stop for the night if you’re stuck.
- -Always solve the problem and keep going until you are in safer water. A good night’s sleep is important. Sleeping on problems is a myth.
- -If you can’t get started, start writing anyway. To do this, you need to have some words to type.
- -It doesn’t matter what you write, you’ll soon begin to think and move in your own rythm/pace.
