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Recently I’ve been attending play readings for a small theatre company, where actors together with the director and producer read through plays to judge if they might be suitable for production.
Since most of the actors are coming to the plays ‘blind’, feeling their way into the roles as they go along without any idea how their character or the story will turn out, they are a bit like novel readers turning the pages to see what happens next. It’s really interesting – and awe-inspiring – to see how they manage to inhabit their parts with no preparation whatsoever.
What really strikes me, though, is the attitude of actor, director and producer alike to the text. It is one of appropriation. They are all thinking: what can I do with this? How can I bring it to life? Can I make it rewarding for me to engage with, and for an audience to watch?
The script is treated as a dynamic thing, a map from which the theatre company will create their own journey. The director tells me her first action when she’s interested in a play is to cross out all the stage directions. She and the actors look at the words of the script, of course, but just as much they look at the gaps between the words, and explore how they can fill them.
Can and should readers apply the same process to novels? These days everything is supposed to be participatory, and so novels come with author interviews, notes for book groups and lesson plans. Readers engage with the text through personal contact with the writer, through reviewing, writing fanfiction, dressing up as the characters…
Ever since Roland Barthes, we have known that the author is dead, and that every written story is created anew in the mind of every reader. But I sometimes feel that while we as writers are supposed to be engaging with our readers more than ever, opportunities for those readers to really interact with a text are often being limited.
How many of you writers out there have been told to remove words that readers might not know, spell out every step of the plot, simplify your sentences, explain in exhaustive detail your characters’ motives and internal thoughts? I know that the editorial or publishing motive behind this is to make books accessible to a wide audience, and reading in general terms more participatory. That’s an important motive. But I feel that by not demanding real input from our readers, we also deny them any power, and half the enjoyment.
I love books that make me do the work of an actor or a director. It’s a question of trust. Every playwright must start from a position of trust, that actors and directors are able and willing to take the words and make them into something – running the risk of course that the ensuing production will be awful, but isn’t risk inherent in any meaningful relationship? As a reader I want to be trusted to fill in gaps between the words, take the implications and run with them, guess, infer, appropriate: bring the story to life. As a novelist I want to trust my readers the same way.
The word ‘work’ makes this sound pretty unappealing (see Nicola Morgan’s recent post on ‘readaxation’ for contrast). But everyone really has a lot of fun at those play readings. Even the simplest, least demanding book requires work from the reader, to transform black-and-white symbols on a page into places, situations, people and ideas in the imagination. That work of transformation is the magic of reading. It’s how a book becomes a part of you.
It’s a truism that the more you put into something, the more you get out. From a reader’s point of view, I think its a truism worth repeating. What do you think, writers and readers?
Is Your Scriptwriting Guilty of TMI?by Christina Hamlett
How much do you really need to know about someone before you’re hooked into wanting to learn more? The process of setting up character introductions for your screenplay or theatrical script has a lot of similarities to the 1990’s matchmaking invention of speed-dating. Credited to an L.A. rabbi seeking to provide a social forum for Jewish singles, the concept of investing only a few minutes to scope out potential mates isn’t unlike using a few sentences to bait a reader’s curiosity about why your heroine collects ceramic owls, why your hero doesn’t own a car, or why the villagers never go to the lake after sundown.
Like many a bad first date, though, new screenwriters and playwrights have a tendency to not only spill too much too soon but expect every detail divulged to be permanently stored in the recipient’s memory. The result? Excessive backstory doesn’t just slog the pace of the plot; it makes it hard to distinguish what’s actually relevant and necessary in order to follow the action. In other words: too much information.
The use of backstory as a literary device traces its roots as far back as Greek mythology, was frequently employed in Shakespearean works to explain rivalries and revenge, and has long been a mainstay of soap operas to account for brooding obsessions and family secrets. Whether revealed partially, fully, chronologically or intermittently, backstory elements that are used wisely serve the purpose of lending depth and providing a context for understanding what has brought the characters to their present situations and mindsets.
In fiction – as in life – people aren’t born interesting; they become interesting as a product of shake-ups in the status quo that challenge and transform them. Because the majority of storytelling is linear, however, writer often embrace the notion that viewers of the film or play have to be brought up to full speed on everything that has happened in the past before they can possibly begin to grasp the meaning of the immediate problem. This approach either takes the form of copious scenes that recite highlights of the hero’s life, interactions and influences or an extended prologue that focuses on the era, environment and cultural framework in which subsequent events will transpire. Both of these strategies are guilty of violating the “show, don’t tell” rule and forestalling a plot’s official kick-off. They’re also typically comprised of specifics that never make a second appearance (i.e., Tim’s childhood turtle named Horton), much less have any connective value to the development or resolution of the core conflict.
Viewers today have shorter attention spans and more distractions competing for their leisure hours than prior generations. Accordingly, the first 10 minutes of a story for stage or screen creates an expectation of what will follow. That said, if your contemporary murder mystery set in Hawaii starts out with volcanic eruptions and screeching pterodactyls, it better be pithy and pertinent or you’re likely to lose your audience long before you get to your first dead body floating in the Halekulani swimming pool. By tightly focusing on your characters' relationships to the core conflict and to one another in the now, you're on your way to writing a leaner and more marketable script than one which takes too long meandering through life in the past lane.
Yeah, that was me after I got home from work yesterday. Except my robe was navy (I don't do pink). And I wear glasses. And it was night. You get the picture. Anyway, it's seven days into the first full week of Script Frenzy and I'm---behind. Life, as it tends to do, has intruded into my carefully-laid plans to write like a maniac this month. It was perfect. Character sketches, logline and plot were completed. Script writing software waited to be activated. Friends were alerted of my limited availability. A supply of dark chocolate, assorted teas and wine were on hand. April 1st arrived and I, along with countless 'Screnzy'ers', got to work. The momentum continued through the weekend, with short breaks to go food shopping and to church. Then, Monday arrived and back to work I went. Sounds familiar? Probably, if you're a writer. You learn to make time to write whenever you can and wherever you may be. That's the only way to grow into your craft, finish your proj
ects and ultimately, earn money. At the day job , that means knocking something out during my lunch break. Yesterday I worked on dialogue and conflict between protagonist and antagonist. A couple of days ago while zoning out on the commute home, a few ideas started crawling around in my brain and when I got home, I had the end of my script. You never know when ideas appear, so I keep a notebook handy. I'm looking forward to this weekend full of writing. Having taken a couple of scriptwriting workshops in the past few months and studying the scripts of various movies and T.V. shows has been helpful in . When Monday rolls around, the day job and rest of life taking up where it left off, the Frenzy will patiently wait for a convenient time for us to meet and create. So will I. In the Frenzy vs. life conflict, sometimes the Frenzy wins, sometimes life does. Now, if you will excuse me, my script---and some chocolate calls. By Jill Earl
By Jill Earl
If you’re looking for a way to develop or sharpen your poetry or scriptwriting skills, check out a couple of writing challenges happening in April.
First up is the Poetic Asides PAD (Poem-A-Day) Challenge. Created by Writer’sMarket.com editor Robert Lee Brewer, the goal is to write a poem each day; using the daily prompt provided by Brewer is optional. The submission deadline is May 5, 2011, and any received after this time will be disqualified. Poems should either be submitted either in the body of the e-mail or as a .txt or .doc file. Out of all the entries, Brewer will choose a ‘Top 50’ of the month. You don’t need to register and participation is free. Full guidelines can be found at the Poetic Asides blog.
Then there’s Script Frenzy, sister to November’s National Novel Writing Month Challenge. Participants write a script (or multiple scripts) of at least 100 pages total, individually or with a partner. Just about anything can be written: screenplays, stage plays, TV shows, short films, comic book and graphic novel scripts, adaptations of novels. There are lots of resources for Frenzy participants to use, including how-to guides, inspiring interviews, forums and a neat Plot Machine if you need some help coming up with a script idea. You must register, but there’s no fee to participate. Everyone who reaches the 100-page goal receives a Script Frenzy Winner's Certificate and web icon. I’ll be joining the over 10,000 (so far) in this year’s Frenzy myself. Go to the Script Frenzy site for more details.
Think you’re up for the challenges? Check one or both out, sign up--and get to writing!
by Jill Earl
I’m approaching the homestretch for
Script Frenzy, the annual event where you write a 100-page script during April. This is my first go-around with the challenge, and learning about scriptwriting and filmmaking are part of my writing goals for this year. I decided to try my hand at adapting a short story I wrote a couple of years ago into a romantic comedy screenplay, and was inspired by a critique received from an editor at a conference I attended some time ago. I generally shy away from romance as a genre, although I do like the occasional romantic comedy.
I prepped for the month by filling out worksheets, reacquainting myself with my characters, getting accustomed to the scriptwriting software I’d be using, practicing some writing, figuring out a writing schedule, and visiting the forums to get acquainted with some of the other participants. April started and the race was on.
Receiving emails from fellow participants and industry professionals has been a great encouragement for me, especially when I was trying to figure out where to begin writing my script. I came across a couple of articles where some writers were struggling with the same issue. One started their script at the end and worked backward, another started in the middle. For me, working out of sequence on various sections of my script has been the answer, and the writing has been coming along.
Then some of my characters decided to go their own way. One of the men, Dominic, decided he didn’t like the name I gave him, so he changed it to Damien. Fortunately, I agreed with his choice. Next, my protagonist’s best friend couldn’t decide whether she wanted a dog or a man, and then dyed her hair a very strange green to celebrate Earth Day. I couldn’t help her with the man-dog decision, but I made her turn her hair back to the original color. And somehow, some killer hamsters were planning to roam the city in little gangs. Um, no, not this story. Once I cracked the whip, they all got back in line, and I’m pushing through.
Recently, I did some training to be a camera operator for a project a local non-profit will be filming. For me, the process will be a great opportunity to witness the script to film process first-hand. And to continue developing my scriptwriting skills, I’m looking into taking WOW’s upcoming screenwriting course by Christina Hamlett.
I’m not certain I’ll finish on the last day with those 100 pages, but the keys will keep tapping in this marathon. I pinky swore on that one. Even better, there’s a long weekend retreat waiting at the end of this endeavor, and there will be dark chocolate.
Now, if you’ll excuse me, I’ve got to head back into the Frenzy.
by Jill Earl
Novelists have NaNoWriMo, National Novel Writing Month. Bloggers have NaBloPoMo, National Blog Posting Month. The start of April later this week brings the fourth annual Script Frenzy for the aspiring scriptwriter.
Script Frenzy is a free international writing event where participants are challenged to write 100 pages of scripted material in the month of April, experience not required. No prizes are offered, but every writer that finishes receives a winner's certificate and accompanying web icon to proclaim your achievement. Any type of script is eligible: screenplays, stage plays, TV shows, short films, comic book and graphic novel scripts, adaptations of novels, radio scripts, whatever gets you scribbling.
Like its siblings above, entrants won’t be left adrift. Start with the ‘Writer’s Resources’ page to begin your pre-Frenzy prep with how-to guides and worksheets to map out your writing. Move on to the the ‘Writing Software’ page for advice on selecting the proper one for your needs. Peruse ‘Cameos’ for articles by industry experts. To get the juices flowing, hit the Plot Machine for script ideas like this one: “After waiting in line for a Wii, a near-sighted chemist must stop the space-time continuum.”
And when the Frenzy begins, don’t forget checking out the forums to network, ask questions, offer answers, see what’s up in your specific genre, discuss the latest tools of the trade, and many other activities.
There's still time to sign up. The festivities begin 12:00:01 a.m. April 1 and end no later than 11:59:59 p.m. April 30.
Script Frenzy’s tagline asks, “30 days. 100 pages. April. Are you in?”
I sure am. Let’s see how this baby turns out.
Q: I've been bouncing some ideas for comedy TV scripts, so I bought a script-formatting
book. The book is published in the U.S and I live in Canada. I was wondering if formatting
rules are any different between the U.S and Canada. And what is the best formatting
program to use? Thanks for the help. —Jennifer Hansford
A: This is a great question—so great, in fact, that I found myself completely stumped.
After all, I don't know anyone who's submitted (or considered submitting) to a Canadian
outlet. Luckily, I know people who know people. And those people often help make me
look smart.
I summoned the help of WD resident scriptwriting expert, Script
Notes' Chad Gervich. He contacted Alex Epstein, a Canadian screenwriter
who has created shows for TV networks in both the U.S. and Canada and has written
the book Crafty Screenwriting: Writing Movies That Get Made. He also runs the popular
scriptwriting blog Complications
Ensue.
According to Epstein, there are no differences between U.S. and Canadian formats.
He also says that Canadian scriptwriters use the same programs as their American counterparts,
such as Final Draft, Movie Magic Screenwriter, ScriptThing, etc. So when writing your
script, stick to the standard formats found in scriptwriting books (and software).
Thanks to both Chad and Alex for their help—and for making me look smarter than I
am.
Brian A. Klems is the online managing editor of Writer’s Digest magazine.
Have a question for me? Feel free to post it in the comments section below or e-mail
me at [email protected] with “Q&Q”
in the subject line. Come back each Tuesday as I try to give you more insight into
the writing life.
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Although I have a background in theatre (used to work as a wardrobe mistress) I've never really thought about this in the way you have here. Thanks for making me think.
thanks Lynne - I was approaching the readings very much as a prose writer, rather than from a theatre background, and I found the different approaches really interesting.