FIRST LESSON:
The ’3rd person/present tense’
- A character is ‘narrating’ the story the story as it is happening.
Eg, Marks picks up the gun and holds it in his hand. It begins to tremble, as if alive.
- It presents a more immediate…..
Commonly used in:
- Screenplays
> The story/film is unfolding as we read it.
> Fosters a more urgent and immediate feel to the story.
- Thriller & suspense genres.
Passive vs. Active voice. (write in passive voice)
Passive: (no action, past tense)
- Uses weak verbs
- Tells whats happening in the character’s head.
- Distances the reader from the story.
Active voice
- Uses strong action verbs
- Shows the action
- Uses an immediate sentence structure
- Conveys the story in lively manner
The sky was blue with a lot of fluffy white clouds –> Passive voice
Fluffy white clouds drift like cotton in the ocean blue sky –> Active
Mark was angry with Jane for tricking him into helping her –> Passive voice
Mark slams the door and stalks across the chamber. He shouts, “Bitch!” –> Active
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 are 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 cant get started on a project, 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 rhythm/pace.
Openers
- write with this opener:
‘ Wearing spongebob squarepants boxer shorts, Caleb walks towards the NP bus stop. Everyone keep their eyes on him and laugh out loud. Caleb then realize that something’s wrong and stroll towards a corner. He look at himself to check if anything is wrong and finds out that he actually forgot to wear back his pants after changing. Feeling very shocked, he suck in a big gulp of air and sprint towards the gents.
- Note down questions you were asking yourself as you wrote it
> Whose story am i telling?
> What is the point of this story?
> How can I engage the attention of the audience?
HOMEWORK: WRITE 12 OPENING PHRASES IN YOUR BLOGS UNDER THE OPENERS PAGE
EG, sally keeps glancing at her watch
Joe opens the bottle and takes a whiff
May closes her eyes and jumps off
James paces around the empty hallway
Mel opens the envelope. Her hand shakes…
SECOND LESSON:
Selena finishes combing her hair, arranges her dress, picks up her bags and picks up the key to leave her house for her first day of school. She sprint towards the bus stop as she is going to be late for school. Soon, She board the bus and quickly walk towards the back to grab a seat. Selena then begins to panic when she saw the bus turning in the other direction. She hurriedly press the bell and alight at the next stop. Feeling very worried and nervous, she took a quick glance at the bus number and realized that she board the wrong bus.
Elements of dialogue
- Dialogue reveals character
> A character will talk about himself and other people will talk about him.
- Dialogue establishes relationships between characters.
> Once you have established your main character’s POV, you can use dialogue with other characters to show that they have other attitudes, creating opposite/alternative POVs.
> This helps to create and sustain the element of CONFLICT between characters.- Good effective dialogue will move the story forward.
- Dialogue communicates faces and information to the audience.
> It conveys essential exposition
> Characters will talk about what happened, establishing the storyline.
- Dialogue ties the script together
> It is one of the devices that YOU as a write can use to expand and enlarge your characters.
“Is you can see it or hear it, don’t write it.” Neville Smith
- Dialogue should be used sparingly.
- Never tell the audience what they can see for themselves.
<DIALOGUE IS NO SUBSTITUTE 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 THE 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 that:
“ITS HOW THE CHARACTER SPEAKS”
> Students tend to create radio shows with images.
<<FILM IS A VISUAL MEDIUM>>
A SCREENPLAY IS A STORY TOLD IN PICTURES
- Good dialogue is to 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.
Exercise: Writing Dialogue
THE SCENARIO:
- A middle-aged man returns home from work.
- He had stopped for a few drinks with his friends and forgot to phone his wife to tell her that he’ll be late.
- The dinner is ruined.
THE EXERCISE:
Write a short scene composed of dialogue between husband and wife.
H: HI, IM BACK HOME! ^^
W: WHERE DID YOU GO TO?!!”
H: Uh.. went for a few drinks with friends……
H: Is there any problem with it?
W: WHY DIDNT YOU TELL ME THAT YOU’RE NOT COMING BACK FOR DINNER?!
H: oh no!!!!!!!!
H: well sorry dear, i.. f..orgot :’(
W: WHAT DO YOU MEAN BY YOU FORGOT?
H: Im so sorry…
W: Go finish up the dishes i cooked NOW!
H: WHUUUAT?! I’ve already eaten.
W: Who cares! GO. NOW.
H: uh oookay.. :’(
H: Im back!
W: where have you been!
H: umm, out with some friends for a few drinks.
W: Oh ok. Your dinner is ready! I’ll heat up the soup for you 
H: Oh thanks darling!
Storytelling tool 1: Observation
- Adopt a KEEN EYE
- Develop a natural sense of curiosity.
> An observed event, when subject to simple questions, can set up a sequence of possibilities that will develop into a story worth telling.
ASK MYSELF:
- 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. 20-30% awareness-
MINDLESS OBSERVATION vs TRUS OBSERVATION
- OBSERVE in a conscious way
- DEVELOP the ability to SEE and RECORD people:
> their MOVEMENTS
> their PHYSICAL CHARACTERISTICS
> the SETTING/PLACES they’re in.
EXERCISE: People watch
- Walk into the canteen/library, etc. and watch people pass by
- Eventually, one will catch your attention.
- Write down as many details as possible through observation.
- Repeat steps 1-3 for a second character
- Transcribe all these details into the ‘PEOPLE-WATCH’ page that you will create on your blog.
& A BLOG POST!!
THIRD LESSON
Characterization: Define the character.
- A story starts with a character
> A character is the heart and soul and nervous system of your screenplay
> It is through your characters that viewers experience ambitions. It is through your characters that are touched.
<WITHOUT A CHARACTER, THERE IS NO ACTION>
<WITHOUT ACTION, YOU HAVE NO CONFLICT>
<WITHOUT CONFLICT, YOU HAVE N 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?
1) Establish your main character.
Characters should have a 3 Dimensional Structure.
- Physiology
> Sex, age, height, weight, color of hair, eyes, skin, posture, appearance, defects, abnormalities, deformities, birthmarks, diseases, heredity
- 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, favorite subjects, poorest subjects, aptitudes.
> Home life: parents living, earning power, orphan, parents separated/divorced, parents’ habits, parents’ mental development, parent’s vices, neglect, character’s marital status.
- Psychology
> Religion, race, nationality, places in community (leader among friends, clubs, sports), political affiliations, amusements (hobbies, books, newspapers, magazines he/she reads), sex life, moral standards, Personal premise (Ambition), frustrations, chief disappointments, temperature: Choleric, easy going, pessimistic, optimistic, attitude towards life: resigned, militant, defeatist, complexes: obsessions, inhibitions, superstitions, phobias, Personality: extrovert, introvert
(CONT’D)
- Abilities: language, talents, Qualities: Imagination, judgement, taste, poise, I.Q,
- What is the deep and personal secret this character has which he is desperate to protect/hide?
SEPARATE THE COMPONENTS OF HIS LIFE INTO 2 BASIC CATEGORIES:
a) 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 or his parents?
- What kind of child was he?
- Is he married, single, widowed, separated or divorce?
b) Exterior: The exterior life takes place the moment your story begins to it’s conclusion. 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? Another job, another wife?
>> YOU MUST CREATE YOUR CHARACTERS IN RELATIONSHIP TO OTHER PEOPLE OR THINGS.
All dramatic characters interact in 3 ways:
1) They EXPERIENCE CONFLICT in achieving their dramatic need. [eg, need money - rob the bank, rob a person?]
2) They INTERACT with other CHARACTERS. [Either in an antagonistic, friendly or indifferent way]
3) They INTERACT with themselves. [eg, He overcame his fear of being caught by pulling off the robbery successfully]
Conflict
- Definition
- (Opposition of person or forces.)
- It is the interaction of opposing ideas, interests, or wills, and creates the plot.
Conflict is the central feature of the screenplay
- man against man
- man against environment
- man against self
Its variations of sex, age, elision and culture which provide variety to the conflict.
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 to cope with change if they want to survive.
- The action in drama depends on conflict.
- Plot annot be constructed without conflict.- Plot cannot be constructed without conflict.
- As your characters attempt 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.
CREATING CONFLICT
- The protagonist and antagonist must be locked together with no possible compromise between them
- The is done by having characters of strong conviction and purpose who will fight for what they want.
- The more evenly matched they are, the stronger the battle will be and the more suspense will be aroused.
SHOW AND NOT TELL
Homework: Post five 50 words essay.
FOURTH LESSON!
Review exercise 3: 50 word stories.
> Purpose of the exercise.
- Breaks down the myth of handling only 1 idea at a time.
- Encourages precise and concise writing.
- Teaches basic script editing skills, to focus and reveal the essential elements.
Dynamic Action:
<STORY IS ACTION>
- Action encompasses any kind of movement, activity and interaction between the characters and also between the characters and their surroundings.
- Talking about how one feels is not as powerful as illustrating why one feels the way they do through action.
< FILM IS BEHAVIOR>
- Action is the manifestation of behavior.
- The complexity of the human psyche and interaction is better understood when it is possible to watch the actions, nuances and reactions of the characters.
<DYNMIC ACTION>
- Has the potential to enrich the experience of the audience by lightening 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.
>> PURPOSE OF THE EXERCISE.
- Addresses the problem many newbies have to screenwriting:
How to convey visually any sense of inner conflict of emotion.
Interactive location: A physical setting and surrounding that interacts it the characters if the film by positively heightening their action.
- It can enhance the impact of the action and heighten stakes.
-Eg, a high rise building invokes more suspense than a low rise building if a character is afraid of heights and has to leap between two buildings.
> Location is
- A physical location,
- A place in which events occur and characters interact.
Storytelling tool 2: Memory (story telling tool 1: observation)
- YOUR MEMORY IS A WONDERFUL CABINET OF PAST INCIDENTS WHICH YOU HAVE EXPERIENCED OR BEEN TOLD.
- THESE MEMORIES ARE POINTS OF REFERENCE TO YOUR OWN PAST EXISTENCE.
TIP:
- write what you do not know because you will find some part of you that does know.
- THERE IS ALWAYS ROOM FOR PERSONAL DISCOVERY.
Exercise: letter to someone from the past
- The might be a person to whom you can no longer speak to
- Could be someone you completely lost touch with
- Even someone who is dead
You should describer yourself exactly as you are in present tie and then try and contrast that image with how you were earlier, when you and the recipient were together.
Contrast that image with how you were earlier, when you and the recipient were togetherr
FIFTH LESSON:
Storytelling tool 3: experience.
- 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.
Exercise 5: TRUE & FALSE STORIES
- Write 2 short stories.
- One is completely TRUS
- One is completely FALSE.
> Purpose of the exercise
- True life stories do not offer neat and relevant endings.
- Life is unpredictable.
- In a story, we can and must control events and sequences so that it gives the appearance of being like life.
——————————————————————————–
Observation
- An observed event, which subject.. worth telling.
- Who am i writing about….
Memory: your memory is a wonderful..
Experiences: are unique……. translatable
TEST NEXT WEEK
Week 1:
- writing in third person: john walks to school.
- writing in present tense.
- writing in the visual voice.
Week 2:
- The role of conflict/ creating conflict. (MAN VS SELF, MAN VS MAN, MSN VS ENVIRONMENT.)
- Elements of dialogue. (dialogue establishes ..)
- Story telling tool 1: observation.
Week 3:
- Characterization: defining the character (physical, psychologically….)
- Developing characters. (exterior life and interior life.)
Week 4:
- Dynamic action
- Story is action = film is behavior
- Interactive location
- Storytelling schematized. (weird character, first started up as a decent man. but in the end, he smokes and everything.) (he lie to his wife.) CALL HOME
- Story telling…
Week 5:
- Storytelling tool 3: experience
- summary of the 3 storytelling tools and techniques.
Pabrik Dodol
The call home
Wet seasons: where is the conflict in wet seasons?
The secret heaven
Autograph book: she still cares for a friend by covering that girl with a sweater and leaving her note book on the table.
Sunat
