| This is how I write my scripts so I believe that | | | | based on some of the workshops I've done in |
| everyone has to find his own way of working | | | | the past. You might find it useful: |
| that suits his/her the most. | | | | 1. Dramatic - sequence leading to change; strong |
| I don't follow any rules of script writing when it | | | | moral element; one character influences the other |
| comes to telling the story, such as: at this point in | | | | one. |
| a script that ought to happen. I don't believe in | | | | 2. Moral vision. |
| this but many do and maybe that is why so | | | | 3. What is the moral line of the story? |
| many bad scripts are coming out of Hollywood. | | | | 4. What defines the storyline? |
| I do follow rules when it comes to the structure | | | | 5. What is the moral change in the character? |
| since it's just easier for the entire crew and cast | | | | 6. PLOT - what the main character does in the |
| to follow the script and that is clearer to read. It | | | | story; fundamental change in action. Character is |
| also looks much more professional when you get | | | | defined through the plot. |
| the structure right and you want to look | | | | 7. Dialogue is seen as the quickest window to the |
| professional in front of your cast and crew. | | | | character. The dialogue expresses the volume of |
| I usually start with writing an idea for a script, | | | | the character. |
| which is just a simple description of the whole | | | | 8. Drama - it is a conflict between what the |
| story. When this is ready, I move on to working | | | | character stands for and the world surrounding |
| on the main characters. Of course it doesn't mean | | | | the character. |
| that I am going to stick to the description I have | | | | 9. Structure - is a development of the character. |
| already done. To me it just works as more of a | | | | 10. The hero never knows what he wants and |
| guideline. | | | | needs at the beginning of the film. |
| After that I sit down and start coming up with | | | | 11. To grow and develop the hero has to fight |
| the scenes, which at first are just descriptions of | | | | opponents and obstacles on his way. To make |
| what might happen in the scene. | | | | the script more interesting, get into the deepest |
| When the skeleton of the script is ready I work | | | | level of conflict. |
| from that point re-writing the script, each time | | | | 12. Whatever the hero comes up with at the |
| around making it better and fuller by adding or | | | | start of the film it almost never works out. So he |
| taking away certain actions, dialogues or scenes. | | | | has to adjust to changing circumstances. |
| In the finished script I try to describe the scenes | | | | 13. Before the hero can change, he/she has to |
| as little as possible, extra words are really not | | | | figure out what he/she wants or is running away |
| necessary and often confusing for the actors. I | | | | from, why he/she is holding back from taking an |
| usually try to work on dialogues and the overall | | | | action. |
| atmosphere of the story. | | | | 14. In the script it's also important to introduce |
| I know that there are many rules when it comes | | | | the hero's internal life, his/her natural space. |
| to writing different genres, which for some people | | | | 15. The hero before facing his/her fear or |
| are good and they need to have it to be able to | | | | opponent will usually have to go through some |
| write anything. Find a system that suits you best | | | | kind of change to become stronger. |
| and stick to it. | | | | 16. People who have been in filmmaking longer |
| The more scripts you write, the better you | | | | than me say that for the middle of the structure |
| become. Even if the scripts don't turn up to be a | | | | the stories obsessive desire is needed. The |
| movie this is the experience that is vital for you. | | | | character will do almost anything to get what she |
| I know that writing can be hard but once you | | | | he wants. |
| start, it gets easier and easier every time. The | | | | 17. You have probably noticed that almost every |
| beginning point is the most important, after that | | | | film has a point when the hero is just about to |
| it's all just discipline. From my experience I can tell | | | | lose. It is called the lower point. |
| you that writing for longer than five hours a day | | | | 18. To make the story more powerful usually the |
| is difficult, this is a creative work so it has to flow. | | | | hero learns something from the opponent and |
| If you don't feel confident enough to write your | | | | grows. |
| scrip yet, take a script writing workshops; some | | | | 19. If you want to reveal something, make a |
| of them are really good. Try looking for the | | | | decision and change an action. This way you give |
| workshops in your area online. | | | | new information to the audience. |
| As far as I am aware there are quite a few | | | | 20. The hero needs to desire something in each |
| websites that deal with script writing/workshops | | | | scene. |
| online. However I don't know how secure that | | | | Story structures |
| kind of work is. You know, copyrights in writing | | | | They say that there are only three basic story |
| and filmmaking are huge issues so always | | | | structures: |
| remember to be covered on that subject. | | | | - Myth |
| Remember, find whatever suits you the most | | | | - Fairy tale |
| and copyright all your work. There are many | | | | - Drama |
| people willing to steal others ideas. | | | | By taking bits and pieces from each structure and |
| Notes on script writing | | | | using it in a different way, other stories emerge. |
| Below is the list of my notes on script writing | | | | To read the whole article click here. |