Archive for October, 2005
Screenwriter’s Toolkit Podcast:
Episode 3.
Written/Contributed by Hal Ackerman
Two people are in bed. A siren or alarm is heard. Or the phone rings. Or a doorbell. WRITE THE SCENE.
You will have to ask yourself: Who are these people? Who are they to each other? What are the immediate circumstances? How does the alarm affect them? What do they do? Are they at cross-purposes? How so?
Place ordinary people in extraordinary circumstances or extraordinary people in ordinary circumstances.
Written/Contributed by Hal Ackerman
Do this with a writing friend. Each of you separately concoct a perfect crime: Circumstances, motive, execution, getaway. Perpetrator. Victim. Write it out in some detail.
Then exchange papers. Create a character who will solve this crime. How will the hole in the plan be discovered? By what means of detection?
Written/Contributed by Hal Ackerman
Two cars, a sports car and an SUV arrive at the same parking spot. Write the scene or sequence of scenes in
a. A Romantic Comedy
b. An Action Adventure
c. A Film Noir mystery
d. Science Fiction
You may change the vehicles and characters inhabiting them as you please.
Written/Contributed by Hal Ackerman
1.Open the phone book Yellow Pages to two random pages, and select two businesses. Move two characters from Point A to Point B by whatever means you invent. Invent a good reason for the journey. Reveal that intent skillfully. If it’s huge, understate it. If it’s trivial, exaggerate.
2. Pick one of the following topics and write a dialogue scene between those two characters, exploring and disputing the topic fully.
a. Standard shift vs. automatic transmission
b. Leaf blowers
c. Teeth
d. Class seating on airplanes
e. Vegetarianism
f. Paying for cable TV
g. Burning CDs
h. Any other mundane topic in the world.
As in every good scene, use the interchange not only to explore the issue, but in doing so, reveal who the characters are, individually and in their relationship to each other.
3. Orchestrate part 2 into part 1 and write a sequence of scenes.
Written/Contributed by Hal Ackerman
In a series of one-line (or at most, two lines) impressions, make a litany of all the times you “broke the rules,” Lied, cheated, stole, set fire, pilfered, prevaricated, deceived. (eg: Poisoned my sister’s gold fish. Enjoyed it. Took joy rides in the family car at age 14 while parents were in hospital.
b. Extract the juiciest of all those incidents. Write it as a story, in prose. However long it takes — a page, 10 pages.
c. How would you adapt it to a screen story? Make a running order of the scenes. Would you need to invent other scenes to dramatize events that were mentioned in the prose version? How would a movie audience know who the characters were and what was important to them?
Written/Contributed by Hal Ackerman
What is the thing or person that irks you most. Lawn
sprinklers that spot your car? TV Ads? War? Politics? People who apply
makeup while driving?
Write a furious diatribe against it. Attack it. Lacerate it. Vent your
spleen. This will be the document that ends the thing that you hate.
When you have done, write PART 2. With equal commitment, honesty, depth,
passion and insight, be an advocate for the issue you have just attacked.
If it was a person, write his/her character piece about you.
Research is a great way to learn more about our characters. Your Task: Pick a subject that your character is familiar with that you might not know much about. Research and list 15 facts on that subject.
Our limitations become our characters limitations. Our characters will take on the stereotypes, prejudices & opinions we can’t work through in our own lives. One way to break our characters out of these limitations is to get insight into ourselves and who we’re trying to portray. Your Task: Freewrite on these questions: What makes me know what other people want? What limitations might get in the way of my characters success? What blocks me from knowing another way of being than my own? Now make a list of 10 ways you can gain insight into your own frame of mind as well as the new frame of mind your characters have.
Editing our own scripts is sometimes wrought with our own defensiveness and inability to let go of what we originally put on the page. Practicing with other scripts can improve our skills and help us see that no matter how done we think a script is, it can always use a little more work. Your Task: Download and read someone else’s script. Answer these questions: What opportunities have the writers missed? What loose-ends have not been tied up? Does this seem important to the writer? Why or why not? How would you make this script better? Explain each element you would change in detail. To go even further, share your notes with someone who has read the script or seen the movie. What do they think of your comments?
