The Writers Workbook
2nd Edition
Edited by Jenny Newman, Edmund Cusick & Aileen La Tourette
Wring for screen and television - Dave Jackson
Screenplays are plans for proposed film and televisions programmes. They are not self-contained pieces of creative writing, but are like blue prints waiting to be constructed and their purpose lies beyond the words. They are the first stage of a collaborative process involving directors, producers, actors etc.
A screen play may go through many changes and will be labelled 'a work in progress' until the film is complete. The chances of the screenwriters original vision/idea surviving intact are very slim. Many successful screenwriters choose to direct their own work so that their creative vision will still be intact.
Visualization
Screenplay is a story told in pictures. You have to learn how to think visually. The dialogue comes last. Think about the way in which films show rather than tell a story. Many films tell us about a character, their world and their situation before a word is spoken. An establishing shot of a characters environment can do this, clothing and objects can also do this. Many films use colour and visual metaphors to convey information for example in Apocalypse now. 'An establishing shot shows a jungle tree-line. US army helicopters appear and explosions set the jungle on fire as The Doors play on the soundtrack. We know instantly that we are witnessing a scene from the Vietnam war.'
The Premise
The premise is a crystallization of what the story is going to be about. It is told in one or two sentences, a few paragraphs at the most. It needs to outlines its most significant aspect.
The premise is a crystallization of what the story is going to be about. It is told in one or two sentences, a few paragraphs at the most. It needs to outlines its most significant aspect.
Three-Act Structure
The most commercial feature films follow the three-act structure. Feature films divide into three distinct parts; the beginning, the middle, the end.
Act 1
The beginning of a 120-minute screenplay takes 20-30 minutes. The first act is the base on which the other two acts follow. The story is set up by introducing the main characters, the world they inhabit and the problem your protagonist must solve. The inciting incident- a dramatic event which upsets the balance of the protagonists world- usually happens within the first 10 minutes of act 1. The audiences needs to hooked with fascinating characters and intriguing central problems as quickly as possible, but you have to be careful to not confuse the audience by introducing too many names and faces too quickly. established characters should be used to introduce new characters.
Act 2
The middle should be the longest part of a film, roughly about 70 minutes of a 120-minute screenplay.This is where the narrative develops and new problems start to occur. There should be a brief lull at the end of act one, beginning of act 2. The conflict should then slowly intensify and begin to develop a subplot. A subplot is a secondary story strand that weaves in and out of the main story line. The main story is your protagonist striving for a goal. For instance a detective on the trail of a criminal. The subplot may grow out of that conflict for instance the detective develops a relationship with a policewoman who has to help him (cliche). The subplot characters are introduced in act 1, but their stories don't develop until act 2. New complications should start to develop, building to conflict throughout act 2.
Act 3
The end should be the shortest act, taking the final 20 minutes of a 10-minute script. This is where the story draws to a conclusion and provides a sense of closure. The audience should feel that the story ends in the right place. This act should also begin with a brief lull, but this should be the calm before the storm. The conflict should build quickly. This is where the protagonist either attains their goal or fails in the attempt. 'After the climax many films have a resolution scene, where plot ends are tied up'. Although a further question might be raised in the audiences mind.
'Before you start writing you need to know how your story ends.' You don't need to know the entire story in detail but the end dictates the beginning. The end of the film shapes the elements that you include in the script.
Character
Protagonist
The majority of films have one central character. It is the person whose story is being told- someone with a problem to solve. Obstacles are put in the way by some antagonistic. In films where there are two or more Protagonists- the central characters fall into one or two categories; plural-Protagonist and Multi-Protagonist . 'In films with plural-Protagonists the story is driven by two or more characters with a shared desire or goal.' In films with Multi-Protagonists, the characters follow separate goals and these films tell Multi plot stories. Protagonists should have a powerful will which drives them to achieve their goal. They should have the capacity to follow their desire to the end. They should be able to engage the audiences sympathy 'Protagonists should change as a result of pressures exerted on them.'
Antagonist
The antagonist can be an individual or a combination of people, whose purpose is to thwart the Protagonists attempts to achieve their goal. The antagonist does not have to be the villain. It does not even have to be a person. It could even be a fatal flaw in the Protagonists character. Even though you have to strive to create believable well-rounded characters they are all there for a purpose.
Catalyst
The catalyst figure appear in all most every story. It serves to push the story forward and send the Protagonist in a new direction. The catalyst may be someone who reports a crime or even someone who ends an affair. They may be minor or major figures in the story and the story may have many catalysts.
Diverse Character
Their function is to provide comic relief, lightening the story to make the audience laugh. They also serve to highlight aspects of the Protagonists character.
Character Biographies.
At the planning stage make biographies of all the characters. This should contain how they look-don't give specific details like hair/eye colour unless these details are vital. Develop their back stories, how do they respond to other characters?, how do events affect them emotionally etc. Edit the descriptions to just 5-10 lines for the major characters and 3-5 lines for the minor characters.
Planning
Before writing the script, you need to plan the overall structure. You should always write in the present tense.
Scene Card
Put your basic scene ideas on index cards, using a separate card for each scene. This helps to keep the story outline fluid.
Step Outline
A step outline tells the basic story in steps. It may be a list of key scenes- saying where each scene takes place, who is in it and briefly describing what happens. The step outline can become a detailed scene-by-scene breakdown of the entire script and can and up resembling the script without the dialogue.
The Treatment
'A treatment is a screenplay told is a story form and is usually between two and 15 pages long.' 'It should flow in logical order from beginning to end and convey emotion as well as the plot.' You need to make clear why characters behave the way they do and what impact events have on them. 'The treatment should give the subtext- the thoughts and feeling behind what is said and done.' The treatment can serve two purposes. It can be a way of evaluating your story and characters. You can see if the script makes sense. It can also function as a detailed selling document. It sells the story to agents and producers.
The Outline
The outline is the synopsis which gives the plot outline and mentions the main characters. Think of it as a review of a film that is not yet made. It should be between 1 and 4 pages long.
Format For Screenplays
Write in simple functional language. Be specific and precise. Make sure you keep to the present tense. The action is always happening now. Only production scripts contain camera angle and editing direction. The necessary elements in a screenplay are:
Act 3
The end should be the shortest act, taking the final 20 minutes of a 10-minute script. This is where the story draws to a conclusion and provides a sense of closure. The audience should feel that the story ends in the right place. This act should also begin with a brief lull, but this should be the calm before the storm. The conflict should build quickly. This is where the protagonist either attains their goal or fails in the attempt. 'After the climax many films have a resolution scene, where plot ends are tied up'. Although a further question might be raised in the audiences mind.
'Before you start writing you need to know how your story ends.' You don't need to know the entire story in detail but the end dictates the beginning. The end of the film shapes the elements that you include in the script.
Character
Protagonist
The majority of films have one central character. It is the person whose story is being told- someone with a problem to solve. Obstacles are put in the way by some antagonistic. In films where there are two or more Protagonists- the central characters fall into one or two categories; plural-Protagonist and Multi-Protagonist . 'In films with plural-Protagonists the story is driven by two or more characters with a shared desire or goal.' In films with Multi-Protagonists, the characters follow separate goals and these films tell Multi plot stories. Protagonists should have a powerful will which drives them to achieve their goal. They should have the capacity to follow their desire to the end. They should be able to engage the audiences sympathy 'Protagonists should change as a result of pressures exerted on them.'
Antagonist
The antagonist can be an individual or a combination of people, whose purpose is to thwart the Protagonists attempts to achieve their goal. The antagonist does not have to be the villain. It does not even have to be a person. It could even be a fatal flaw in the Protagonists character. Even though you have to strive to create believable well-rounded characters they are all there for a purpose.
Catalyst
The catalyst figure appear in all most every story. It serves to push the story forward and send the Protagonist in a new direction. The catalyst may be someone who reports a crime or even someone who ends an affair. They may be minor or major figures in the story and the story may have many catalysts.
Diverse Character
Their function is to provide comic relief, lightening the story to make the audience laugh. They also serve to highlight aspects of the Protagonists character.
Character Biographies.
At the planning stage make biographies of all the characters. This should contain how they look-don't give specific details like hair/eye colour unless these details are vital. Develop their back stories, how do they respond to other characters?, how do events affect them emotionally etc. Edit the descriptions to just 5-10 lines for the major characters and 3-5 lines for the minor characters.
Planning
Before writing the script, you need to plan the overall structure. You should always write in the present tense.
Scene Card
Put your basic scene ideas on index cards, using a separate card for each scene. This helps to keep the story outline fluid.
Step Outline
A step outline tells the basic story in steps. It may be a list of key scenes- saying where each scene takes place, who is in it and briefly describing what happens. The step outline can become a detailed scene-by-scene breakdown of the entire script and can and up resembling the script without the dialogue.
The Treatment
'A treatment is a screenplay told is a story form and is usually between two and 15 pages long.' 'It should flow in logical order from beginning to end and convey emotion as well as the plot.' You need to make clear why characters behave the way they do and what impact events have on them. 'The treatment should give the subtext- the thoughts and feeling behind what is said and done.' The treatment can serve two purposes. It can be a way of evaluating your story and characters. You can see if the script makes sense. It can also function as a detailed selling document. It sells the story to agents and producers.
The Outline
The outline is the synopsis which gives the plot outline and mentions the main characters. Think of it as a review of a film that is not yet made. It should be between 1 and 4 pages long.
Format For Screenplays
Write in simple functional language. Be specific and precise. Make sure you keep to the present tense. The action is always happening now. Only production scripts contain camera angle and editing direction. The necessary elements in a screenplay are:
- Scene Heading (Location, Interior, Exterior)
- Visual Exposition (What you would see if you were watching the screen)
- Dialogue
Dialogue
Dialogue Follows the visual exposition, with the characters name in capital letters in the center of the page. Their Dialogue follows on the next line. Film Dialogue is not like real life conversations. It should not be written the way everyday conversations go. Lines should be short. Try not to give one character more than three to four lines of dialogue at one time. This isn't a rule, there are exceptions. But if characters are giving a long speech, try to break it up by other characters interjections or inserting other visual elements. This stops the script looking dialogue heavy.
Conclusion
Writing for film and television is a collaborative process. You must show willingness to revise and redraft your work.
How to Write
The Guardian
Edited by Philip Ottermann
Writing for cinema, language takes second place. Close-ups and looks between two characters can tell the audience much more than pages of dialogue. The location can add to the atmosphere and can be a way of intensifying the story and plot.
Ideas from scripts can arise from many things; reading, watching, scribbling, day dreaming, listening, remembering etc.