Unit 24 scriptwriting: Task 2 (part 2)

Helpful info for writing scripts.

Screen Shot 2015-09-17 at 14.12.52Screen Shot 2015-09-17 at 14.15.56http://www.wikihow.com/Write-Movie-Scripts

http://www.theguardian.com/film/2008/jun/30/news.culture1

http://www.screenwriting.info

http://www.bbc.co.uk/worldservice/arts/features/howtowrite/screenplay.shtml

http://www.creative-writing-now.com/write-a-movie-script.html

How To Write A Screenplay You Can Sell

http://thescriptlab.com/screenwriting

How to Make a Short Film: 7 Simple Secrets for Making an Outstanding Short Film

How to Write a Script Outline: the 8 Major Plot Points

http://www.literautas.com/en/blog/post-265/how-to-write-a-short-film-script-general-tips/

7 Steps to Writing Your Screenplay

 I believe the information I have found  through internet research will help me when planning and writing my script. I have extracted the most useful data for me to use below:

  • “Flesh out your concept. Assuming you already have an idea you want to write about, sketch out all the necessary plot details, relationships, and personality traits that will guide your story. Which elements are the most integral to your concept? How do your characters interact and why? What’s your larger point? Are there any plot holes? Write notes addressing these points in any format you see fit.”
  • “Write your story in three acts. The pillars of a screenplay are the Three Acts. Each act can operate independently, and when taken together provide the full arc of a story.

    • Act One: This is the set-up for the story. Introduce the world and the characters. Set the tone of the story (comedy, action, romance, etc.). Introduce your protagonist, and begin exploring the conflict that will drive the story. Once the protagonist is set towards the objective, then Act Two begins. For dramas, Act One is typically 30 pages. For comedies, 24 pages.
    • Act Two: This act is the main portion of the story. The protagonist will encounter obstacles on the path to the resolution of the conflict. Subplots are typically introduced in the second act. Throughout the second act, the protagonist should be showing signs of change. For dramas, Act Two is typically 60 pages. For comedies, 48 pages.
    • Act Three: In the third act, the story reaches its resolution. The third act contains the twist of the story, and ends with the final confrontation of the objective. Because the story has already been established in the second act, the third act is much faster-paced and condensed. For dramas, Act Three is typically 30 pages. For comedies, 24 pages.”

     

  • “Characters tend to be blurry in screenplays, partly because, if you over-define things, you limit the number of actors you can cast from. But just because you can’t describe their eyebrows shouldn’t stop you understanding thoroughly what makes them tick. When Sam Peckinpah was rewriting scripts, he used to cross out all the characters’ names and replace them with the names of people he knew, so he could get a fix on them. Sometimes an arresting stage direction works wonders.”
  •  
    “A true treatment is something that you would never show anyone! It’s an elaborate plan which describes scene by scene what the characters say and do, and what they’re thinking and feeling. It should be about 80-100 pages long. It’s a tool that the writer uses to build toward the screenplay.”
  • “For a truly effective screenplay, you must know your characters backwards and forward. In screenwriting, the moment you begin to imagine character relationships – how your character deals with his parents, his siblings, his coworkers, and all that – you start to explore the world of your story, and suddenly scenes begin to emerge. “
  • “In short stories, there’s neither time nor space to delve into unnecessary details. Descriptions, if any, must be concise and somehow contribute to the story. If they don’t, delete them.”
  • “The best short films are based on anecdotes or little incidents with an underlying meaning. Beyond the simplicity of the story, your audience will enjoy the subtlety of the subtext.”
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