scriptwriting final

novel or story

takes place inside the characters head, within the mindscape of dramatic action

stage play

takes place via audiences eavesdropping, takes place within the language of the dramatic action ; in words

screenplay

a visual story told in pictures, in dialogue and description and places within the context of dramatic structure. Is also a noun about a person or persons in a place doing his or her thing

drama is conflict

mantra 1

what makes a good script

when conflict is present; the story has to offer conflicts and twists for your characters to overcome

characters

have to be strongly motivated and susceptible to give them appeal

mantra 2

complex characters in simple stories work best

act 1

dramatic context that holds the content is introduced; establishes the story, characters, dramatic premise, relationships between characters, and the situation

plot point one ( stunning surprise)

an incident that hooks into the actions and spins it in another direction

act two ( confrontation)

main character encounters obstacle after obstacle that keeps him from achieving his or her dramatic need.

Plot point two ( stunning surprise 2)

an incident that hooks into the action and spins it toward the climactic scene and resolution

Act three ( resolution)

Main character finally overcomes obstacles to achieve dramatic need; other loose ends and relationships are tied up

what makes a good script?

the premise has to be unique and focused, so it can be pitched in a long line; the genere must be clear and consistent; characters must be motivated and complex; writing must reflect an understanding of production pragmatics;

mythic structure

( Joseph Campbell) a hero who pursues a high stakes goal in the face of great oppositions from an adversary that appears to be undefeatable

ordinary world

the hero is introduced sympathetically so the audience can identify with the situation or dilemma, the hero is shown against a background of environment, heredity and personal history, some kind of polarity in the hero’s life is pulling in different directions and causing stress

call to adventure ( plot point one)

something shakes the situation, the hero must face the beginnings of change

Refusal of the call

the hero feels the fear of the unknown and tries to turn away from the adventure.

meeting the mentor

the hero comes across a seasoned traveller of the world who gives him or her training, equipment, or advice, that will help on the journey . or hero reaches the source of wisdom and courage

crossing the threshold

at the act of end one the hero commits to leaving the ordinary world and entering a new region or condition

test, allies, and enemies

the hero is tested and sorts allegiances in the special world

approach to innmost cave

the hero and newfound allies prepare for the major challenge in the special world

central ordeal

near the middle of the story the hero enters a central space in the special world and confronts death or faces his or her greatest fear

reward

the hero takes possession of the treasure won by facing death there may be celebration but is also danger of loosing the treasure again

road back

about three fourths of the way through the story, the hero is driven to complete the adventure, leaving the special world to be sure the treasue is brought home

resurrection

(climax) the hero is severely tested once more on the threshold of home purified by a last sacrifice, the polarities that were in conflict at the beginning are finally resolved

character archetypes

recurring character types and relationships exist in all stories

not rigid character roles but character functions

characters can switch function “ masks” at any time temporarily to advance the story

Archetypes

what is the dramatic function ( role ) in the story?

hero

central figures in stories, Everyone is this in his or her own myth psychological function- the ego, the part that considers itself distinct from the rest of the human race

mentor

the heros guide or guiding principles

threashold gaurdian

the forces that stand in the way of important during points including jealous enemies proffessional gate keeprs, or your own fears and doubts

herald

one who brings the call to adventure could be a person or an event

shapeshifter

represents change the way other people ( our perceptions of them) keep changing

shadow

villans and enemies, perhaps the enemy within

ally

characters who help the hero through the change

moral premise

a statement of truth that is right or wrong about the protagonists psychological predicament

message

says something to a particular group at a particular time in a particular context

theme

universal concept that applies to everyone at all times “This is how to be a better person”

structure of moral premise

( vice) leads to (defeat), but ( virtue ) leads to (success)

importance of moral premise

its the concept that holds the whole movie together

motto 4

Thought perceives actions ( in characters)

moment of grace

a point where the protagonist becomes aware of the moral premise and confronts it ( occurs early in act 2)

creating an effective series idea

is clearly and consistently about something it inherits ideas that are desirable that sustain over many episodes the concept should be some what relatable to real life. conflict stems between characters.

effective series

can be classified in a genere and sticks to that genere it also should follow pop culture and media patterns

The journey structure

a characters simple journey ( to work, to school, to the fridge) becomes an archtypal struggle or search

ritual occasion structure

adventure, in the guise of an archetypal stranger or event. Finds a character in his or her situation, often “ coming of age story”

simplicity

write simple stories with complex characters

dramatic contrast

two strong personalities who conflict over a problem

writerly perspective

a writers ethical or moral values that connect to the organizing idea

telling a story with pictures

films are told in pictures( what we see) as much as possible choose pictures over dialogue

mantra 5

audience needs visuals

flat characters

stock characters that are there simply to fulfill an action

round characters

main characters that have backgrounds and feelings, behaviors, etc

mantra 6

character is action- characters are revealed through their actions and behaviors and their dialogue know your characters inside out

characters experience conflict

in achieving their dramatic need

frame

supplies the settings and locations as well as mood and style

event

the ultimate occurance of the plot ; what happens after everything happens

dramatic problems

reaching the event: “ how does the event end up happening”

story concept

a summary sentence that indicates what generally happens in a story;

motto 7

Scripts are written backwards: you must know where your going so you know what needs to happen to get there.

sequence

a series of scenes and bits tied together by one single idea

bit

1 minute or so of action that moves the plot along or reveals character

character development

reveals a slight little bit about your character or establishes dramatic need of character

dramatic premise

reveals what the story is about; sets up what is going to happen the rest of the film

dialouge

write as little as possible , audiences pay to see moving pictures

exposition

revealing information about the plot of character

3 types of dialog

on the nose, subtextual, and straight

motto 8

scripts aren’t written they’re rewritten