If I write when I’m tired, often the work isn’t my best. Still, there will be some useful sections at the end of the day, or at least a good start for the next, though I’ll have to do more rewriting than usual. [Pages have to be extremely bad before I’ll discard them. Sometimes, lurking in the thought processes that led to them, there’s Continue reading
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I’m changing gears here to talk about my earlier screenplay, In the Mouth of the Lion. My readers reported back several weeks ago. Based on their combined comments, I have quite a bit of work to do, a total of about 150 marks to resolve. This is now the longest punchlist I’ve ever worked with for a fiction project, 10 pages, compared to Continue reading
I’ve noted that as a screenplay, the events in Temple of Isis become more shocking. I’m a bit worried that although I have made the story understandable to modern audiences, it has added shock value due to the immediacy of film.
My approach will be to make the entire script a lot darker, particularly the opening. The events and their ultimate resolution will thus not be unexpected, based on the tone of the first scenes. Whether I can retain enough positivity to hold the audience remains to be seen.
In case you’ve not already been taught this, it’s considered mandatory that your hero have a flaw, something for him/her to overcome, something to provide an inner journey while shooting up the world with an AK-47 on the outer levels, something to make the reader identify with him/her: “Hey, this character is Continue reading
The play has been converted to a Final Draft document.
I now need to clean up the formatting, convert narrator lines back to action, and prepare character studies. At this point, I’m not sure who the screenplay version protagonist is!
The big question is whether this will resonate with modern audiences. I’ll have to get some readers to give me their impression of a synopsis and the first ten pages. Anyone interested?
I’ve converted 74 pages of my play from M/S Word into screenplay format via Final Draft. The process is a bit slow, but my target is a zero level draft, ready to rework for film.
The script I’m using is the one for the 2009 staged reading. Most action and stage directions are in the form of narration–not bad, but tightening will definitely be needed. Character action throughout has been done as parentheticals. These will have to be reformatted as action paragraphs.
The dialogue is also problematic. Classical stories for the stage are one thing; a screenplay credible to modern audiences is quite another. I may have to make the thing a lot darker, so the funniest lines are in jeopardy. I won’t really have a clue as to whether the conversion will work until I have it all in front of me.
On the other hand, this is quite different from what’s out there, so if I can establish the Ordinary World strongly enough, I may be able to get away with much of the story as-is. I know the truth is no excuse, but the story is based largely on actual history, giving me a solid foundation or the start of one. Thematic level alterations may be necessary to keep story, plot, and character all working together.
Definitely a challenge!
I’ve translated 31 pages of my play into screenplay format. Because of the nature of the thing, none of those pages are anywhere near ready for use. In the Mouth of the Lion will remain on hold until I’ve got 120 pages or so on the new project.
I took Hal Croasmun’s Rewrite Course today, good timing, since both my screenplays will be in rewrite at the same time. I’m impressed with Hal’s free courses, always something good in them.
I actually will be doing some Level 1 (story) revisions on In the Mouth of the Lion. Those changes will probably be diagrammatic for the first two weeks, as I identify which sequences can be scissored out with the fewest logic paths destroyed.