course C [
] ‘Scriptwriting 1: Mechanics’
the clockwork of forming then
tuning a professional script—
step by step instructions
1 .
What Does A Script Do?
• |
show
not tell |
• |
the
suspension of disbelief: virtual realities and why people
buy tickets |
• |
engagement
and identification - who said these were passive mediums? |
2 .
Theme
• |
is it a
message is it an intent, and how does it glue the whole
thing together? |
• |
commercial
considerations - why there are trends and why they should be
for accounted for |
3 .
Characterisation
• |
real
people don't just talk about it: how to show character
through action |
• |
the
character who learns versus the character who's static: what
do audiences expect of these personals and why? |
4 .
Subtext
• |
in
"show" mode you can stack up any motives:
entertainment through the planned leading of audiences
expectations |
• |
why
life rarely seems messy on the screen |
• |
in any
dynamic scene, what creates interpersonal tension? |
5 .
Mis-En-Scene/Action-Reaction
• |
why
should characters move through their world, what does it
reveal about them, how does this create structure and why
does this increase our level of engagement? |
6 .
Act Structure
• |
moving
a story line to define plot points |
• |
balance
and weighting of movement and character: how to determine it
there is a need to shift focus |
• |
sequencing
and their styles; exposition, interaction and ambience |
7 .
The Scripting Process
• |
the
single line grab/a complete 1 page synopsis/plot point scene
by scene/act structure. Why bother to go through all this
and why does it protect the writer from grief. |
8 .
The Dialogue Draft
• |
interaction,
subtext, inference: why do characters open their mouths in
the first place. |
9 .
Editing
• |
cutting
for pace, cutting for suspense, cutting for groove - the ins
and outs of the ins and outs of any scene. |
write mechanix
tutorials
course outline copyright david young 2000 and before
Phone 02 6254 2917
no words can ever be written
unless they’re meant...
|