Notes

Cassie begins to lose her consciousness as her mind and body goes numb from the effect of anesthetic. Her body starts twitching uncontrollably, while setting a high in with the blast of hip-hip music.

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Elements of Dialogue

• Dialogue reveals CHARACTER.
  - A character will talk about himself and other people will talk about him.
• Dialogue establishes RELATIONSHIPS BETWEEN CHARACTERS.
  - Once you have established your main character’s Point Of View, you can use dialogue with other characters to show that they have other attitudes, creating opposite/alternative Point Of Views.
  - This helps to create and sustain the element of CONFLICT between characters.
• Good Effective Dialogue will Move the Story Forward
• Dialogue COMMUNICATES FACES AND INFORMATION TO THE AUDIENCE
  - It conveys essential exposition. (Exposition: Telling you what the story is/means)
  - Characters will talk about what happened, establishing the storyline.
• Dialogue COMMENTS ON THE ACTION
  - It is one of the devices that YOU as a writer can use to expand and enlarge your characters.
  “If you can see it or hear it, don’t write it.” – Neville Smith
  Dialogue should be use sparingly. NEVER TELL THE AUDIENCE WHAT THEY CAN SEE FOR THEMSELVES!
  Dialogue is no SUBSTITUTE FOR ACTION

  In Hollywood when they look at a page and it’s got too much black, too much ink on the paper, they say:
  “SHIT! IT’S FREEZE THE CAMERA TIME!!!”

• COMMON MISTAKE
  - Students sometimes never achieve level of competence as they tend to reproduce conventional spoken language, long statements of “REAL TALKING”, and defend their decision by telling us that:
  “It’s how the character speaks.”
  
• GOOD DIALOGUE is not somebody’s ability to write authentic speech as heard in real life.
  - If that was all there is to it, you can just push a button on the tape recorder and then go collect your Oscar.
• GOOD DIALOGUE is the illusion of reality.
  - You’ve got to know how to edit what people say without losing any of the spirit.
• COMMON MISTAKE
  - Students tend to create radio shows with images.
  < FILM IS A VISUAL MEDIUM. > A SCREENPLAY IS A STORY TOLD IN PICTURES.
• THE SCENARIO:
  - A middle-aged man returns home from work.
  - He had stopped for a few drinks with his friends and forgot to phone his wife to tell her he’ll be late.
  - The dinner is ruined.
• THE EXERCISE:
  - Write a short scene composed of dialogue between husband and wife.

  HUSBAND: Hey dear, I’m home!
  WIFE: (seats still on the sofa with an angry look on her face)
  HUSBAND: I’m gonna take a shower.
  WIFE: Wait a minute.
  HUSBAND: (turns around to look at his Wife)
  to be continued…

  Father: Hey dear, I’m back~
  Mother: Why are you back so late? Did you forget about dinner? Why do you smell of alcohol?
  Father: Sorry. I went to drink with some friends.
  Mother: Please tell me earlier next time.
  Father: Ok. Sorry~
  Mother: Do you want dinner now?

  PURPOSE OF THE EXERCISE: WE WRITE BEST WHAT WE KNOW WELL.

• STORYTELLING TOOL #1: OBSERVATION
  - Adopt a KEEN EYE
  - Develop a natural SENSE OF CURIOSITY
  - An observed event, when subject to simple questions, can set up a sequence of possibilities that will develop into a story worth telling.
  - WHOM AM I WRITING ABOUT?
  - WHO IS MY CHARACTER?
  - WHAT IS HE / SHE / IT LIKE?
  - WHAT DOES HE / SHE / IT DO?
  - WHAT HAPPENS TO HIM / HER / IT IN THE STORY?

  AWARENESS LEVEL
  - People rarely observe familiar people or things closely.
  - Most people pass through the day with 20% ~ 30% awareness.

  MINDLESS OBSERVATION vs TRUE OBSERVATION
  - OBSERVE in a conscious way
  - DEVELOP the ability to SEE and RECORD people:
  (1) Their MOVEMENTS (2) Their PHYSICAL CHARACTERISTICS (3) The SETTING / PLACES they’re in

• ASSIGNMENT ( April 30 )1. Walk into the canteen/library, etc. and watch people pass by.
  2. Eventually, one will catch your attention.
  3. Write down as many details as possible through observation.
  4. Repeat steps 1 ~ 3 for a second character.
  5. Transcribe all these details into the “PEOPLE-WATCH” page that you will create on your blog.

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CHARACTERIZATION: DEFINING THE CHARACTER

Story starts with a character.
1. A character is the heart and soul and nervous system of your screenplay.
2. It is through characters that viewers experience emotions. It is through your characters that they are touched.
3.
WITHOUT A CHARACTER, THERE IS NO ACTION.
NO ACTION, NO CONFLICT.
NO CONFLICT, NO STORY.
NO STORY, NO SCREENPLAY.

4. When developing a character, ask yourself:

• WHO IS YOUR CHARACTER?
• WHAT DOES HE WANT?
• WHAT IS HIS QUEST?
• WHAT DRIVES HIM TO THE RESOLUTION OF THE STORY?

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DEVELOPING CHARACTERS

1. ESTABLISH YOUR MAIN CHARACTER.
Characters should have 3 Dimensional Structure.
(a) Physiology
(b) Sociology
(c) Psychology

(a) Physiology

• Sex
• Age
• Height, weight
• Color of hair, eyes, skin
• Posture
• Appearance
• Defects, adnormalities, deformities, birth marks, diseases
• Heredity

(b) Sociology

• Class (low, middle, upper)
• Occupation: type of work, hours of work, income, condition of work, attitude towards organization, suitability for work
• Education
• Religion
• Race, Nationality
• Home life
• Place in Community
• Political Affiliations
• Amusements: hobbies, books, newspapers, magazines he/she reads

(c) Psychology

• Sex life, Moral standards
• Personal Premise, Ambition
• Frustrations, Chief Disappointments
• Temperament: choleric, easy-going, pessimistic, optimistic
• Attitude towards life
• Complexes: obsessions, inhibitions, superstitions, phobias
• Personality: extrovert, introvert
• Abilities: language, talents
• Qualities: imagination, judgment, taste, poise
• I.Q.
• What is the deep and personal secret this character has which he is desperate to protect/hide?

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DEVELOPING CHARACTERS
> INTERIOR
The interior life takes place from birth until the moment your story begins.
It is a process that forms character. (when you start formulating your character from birth, you see your character build in body and form.)

• How old is he when the story begins?
• where does he live?
• does he have siblings?
• What kind of childhood did he have?
• What was his relationship to his parents?
• What kind of child was he?
• Is he married, single, widowed, separated or divorced?

> EXTERIOR
It is a process that reveals character.

• Who are they and what do they do?
• Are they sad or happy with their life?
• Do they wish their life was different? Another job, another wife?

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> YOU MUST CREATE YOUR CHARACTERS IN RELATIONSHIP TO OTHER PEOPLE OR THINGS.

> ALL DRAMATIC CHARACTERS INTERACT IN 3 WAYS:

1. They EXPERIENCE CONFLICT in achieving their dramatic need.
   (Need money – Rob and bank, rob a store, rob a person?)
2. They INTERACT with other CHARACTERISTICS.
   (Either in an antagonistic, friendly or indifferent way)
3. They INTERACT with THEMSELVES.
   (e.g. He overcame his fear of being caught by pulling off the robbery successfully.)

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CONFLICT

• Definition
• (Opposition of persons or forces)
• It is the interaction of opposing ideas, interests, or wills, and creates the plot.

Conflict is the central feature of the screenplay
- man against man
- man against environment
- man against self

It’s a variations of sex, age, religion and culture which provide variety to the Conflict.

~ Plot cannot be constructed without conflict.
~ As your characters attempt to reach their goals, they come into conflict with each other.

Creating Conflict

• A protagonist and antagonist must be locked together with no possible compromise between them.
• This is done by having characters of strong conviction and purpose who will fight for what they want.
• The more evenly matched they are, the stronger the battle will be and the suspense will be aroused.

This week’s Assignment:
1. Blog post
2. Post 5 Different Stories with 50 words ONLY. (e.g. For sale, baby shoes, never used. – Ernest Hemmingway)
3. (Check up on MeL for e next assignment)

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DYNAMIC ACTION
<<STORY ACTION>>

• Action encompasses any kind of movement, activity and interaction between the characters and also between the characters and their surroundings.
• Talking about how one feels is not as powerful as illustrating why one feels the way they do through action.

<<FILM IS BEHAVIOUR>>

• Action is the manifestation of behaviour.
• the complexity of the human psyche and interaction is better understood when it is possible to watch the actions, nuances and reactions of the characters.

<<DYNAMIC ACTION>>

• Has the potential to enrich the experience of the audience by heightening the stakes and increasing the tension.

MOVING PICTURES
” THE POWER OF ANY STORY LIES IN THE NARRATOR’S ABILITY TO PROJECT A MENTAL PICTURE FOR THE AUDIENCE. “

INTERACTIVE LOCATION

• Location is
  - A physical location
  - A place in which events occur and characters interact.
• Interactive Location is:
  - A physical setting and surrounding that INTERACTS with the characters of the film by positively heightening their action.
• It can enhance the impact of the action and heighten stakes.

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PURPOSE OF THE “LETTER TO THE PAST” EXERCISE
- In dramatic writing, the very essence is character change.

STORYTELLING TOOL: EXPERIENCE

• A storyteller should be concerned with the potential of every experience.
• Everything about you – where you were born, what food you eat, the bump on your forehead – your experiences are unique and irreplaceable.
• Many of your experiences are universal and translatable and can be used in any location.
• TIP:
  - If you don’t know what to do with a character, make him yourself for a while.
  - See how he relates to the world he has been thrown into.
  - >>> PLUNDER YOUR OWN PERSONAL BACKGROUND!
  The things that happen to you as you grow up and the things that are currently happening to you make terrific story sources.

PURPOSE OF THE EXERCISE

• True life stories do not offer neat and relevant endings.
• Life is unpredictable.
• In a story, we can and must control events and sequences so that it gives the appearance of being like life.

STORYTELLING TOOLS:
1. Observation
2. Memory
3. Experience

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THINGS TESTED IN QUIZ

• Writing in third person.
• Writing in present tense.
• Writing in the visual voice.
• Role of conflict / creating conflict.
• Elements of dialogue.
• Storytelling tool 1: Observation
• Characterization: defining the character
• Developing Characters
• Dynamic action
• Story is action = film is behaviour
• Interactive location
• Storytelling Schematized
• Storytelling tool 2: Memory
• Storyteling Tool 3: