SYLLABUS: SCRIPT WRITING

 

LEARNING UNIT 1: BRAINSTORM STORY IDEAS AND IDENTIFY CHARACTERS

1.1.Adequate collection of ideas in a mind map

 Mind maps are diagrams. It’s putting your thinking into visual pictures, symbols, numbers, and words. A mind map is a diagram used to visually organize information. A mind map is hierarchical and shows relationships among pieces of the whole.

 

1.1.1.      What is Strategic Planning?

Strategic planning is the art of creating specific business strategies, implementing them, and evaluating the results of executing the plan, in regard to a company’s overall long-term goals or desires. It is a concept that focuses on integrating various departments (such as accounting and finance, marketing, and human resources) within a company to accomplish its strategic goals. The term strategic planning is essentially synonymous with strategic management.

 

 

Strategic Planning Process

The strategic planning process requires considerable thought and planning on the part of a company’s upper-level management. Before settling on a plan of action and then determining how to strategically implement it, executives may consider many possible options. In the end, a company’s management will, hopefully, settle on a strategy that is most likely to produce positive results (usually defined as improving the company’s bottom line) and that can be executed in a cost-efficient manner with a high likelihood of success, while avoiding undue financial risk.

The development and execution of strategic planning are typically viewed as consisting of being performed in three critical steps:

 

1. Strategy Formulation

In the process of formulating a strategy, a company will first assess its current situation by performing an internal and external audit. The purpose of this is to help identify the organization’s strengths and weaknesses, as well as opportunities and threats (SWOT Analysis). As a result of the analysis, managers decide on which plans or markets they should focus on or abandon, how to best allocate the company’s resources, and whether to take actions such as expanding operations through a joint venture or merger.

Business strategies have long-term effects on organizational success. Only upper management executives are usually authorized to assign the resources necessary for their implementation.

 

2. Strategy Implementation

After a strategy is formulated, the company needs to establish specific targets or goals related to putting the strategy into action, and allocate resources for the strategy’s execution. The success of the implementation stage is often determined by how good a job upper management does in regard to clearly communicating the chosen strategy throughout the company and getting all of its employees to “buy into” the desire to put the strategy into action.

Effective strategy implementation involves developing a solid structure, or framework, for implementing the strategy, maximizing the utilization of relevant resources, and redirecting marketing efforts in line with the strategy’s goals and objectives.

 

 

3. Strategy Evaluation

Any savvy business person knows that success today does not guarantee success tomorrow. As such, it is important for managers to evaluate the performance of a chosen strategy after the implementation phase. Strategy evaluation involves three crucial activities: reviewing the internal and external factors affecting the implementation of the strategy, measuring performance, and taking corrective steps to make the strategy more effective. For example, after implementing a strategy to improve customer service, a company may discover that it needs to adopt a new customer relationship management (CRM) software program in order to attain the desired improvements in customer relations.

All three steps in strategic planning occur within three hierarchical levels: upper management, middle management, and operational levels. Thus, it is imperative to foster communication and interaction among employees and managers at all levels, so as to help the firm to operate as a more functional and effective team.

 

Benefits of Strategic Planning

The volatility of the business environment causes many firms to adopt reactive strategies rather than proactive ones. However, reactive strategies are typically only viable for the short-term, even though they may require spending a significant amount of resources and time to execute. Strategic planning helps firms prepare proactively and address issues with a more long-term view. They enable a company to initiate influence instead of just responding to situations.

Among the primary benefits derived from strategic planning are the following:

 

1. Helps formulate better strategies using a logical, systematic approach

This is often the most important benefit. Some studies show that the strategic planning process itself makes a significant contribution to improving a company’s overall performance, regardless of the success of a specific strategy.

 

2. Enhanced communication between employers and employees

Communication is crucial to the success of the strategic planning process. It is initiated through participation and dialogue among the managers and employees, which shows their commitment to achieving organizational goals.

Strategic planning also helps managers and employees show commitment to the organization’s goals. This is because they know what the company is doing and the reasons behind it. Strategic planning makes organizational goals and objectives real, and employees can more readily understand the relationship between their performance, the company’s success, and compensation. As a result, both employees and managers tend to become more innovative and creative, which fosters further growth of the company.

 

3. Empowers individuals working in the organization

The increased dialogue and communication across all stages of the process strengthens employees’ sense of effectiveness and importance in the company’s overall success. For this reason, it is important for companies to decentralize the strategic planning process by involving lower-level managers and employees throughout the organization. A good example is that of the Walt Disney Co., which dissolved its separate strategic planning department, in favor of assigning the planning roles to individual Disney business divisions.

 

1.1.2.      Brainstorming session

Mind maps can be created in many different ways, but they share the same basics:

Central theme.

Associations.

Curved lines.

Keywords.

Proximity.

Color & images.

Mind Mapping

A mind map is a tool for the brain that captures the thinking that goes on inside your head. Mind mapping helps you think, collect knowledge, remember and create ideas. Most likely it will make you a better thinker.

Mind maps can be created in many different ways, but they share the same basics:

Central theme

A central theme is placed in the centre of a blank page. This is the title, the subject, a problem or just a thought. When thinking of something images automatically take form in your head. For example the image of a “colorful bunch of balloons” when thinking of “birthday”.

 Associations

From the central theme associations radiate out. Associations directly from the central theme are called first level associations. Then second level associations are created, third level and so on. The brain thinks by imagination and association. When associations are created, connections are made. These connections are essential for remembering and thinking.

 Curved lines

Associations are often drawn as curved lines. They are  curved rather than straight, because the brain likes curves.

 

Keywords

Mind maps summarize information. Instead of sentences, ideally only single keywords are used. A single word per association gives more freedom, creativity and clarity.

 Proximity

The length of a word ideally matches the length of a curved line. That causes associated words to  be in close proximity.

 

 

Color & images

The use of color is important in the mind map. Research shows that people who use color and images in their imagination, when they are learning, are better in remembering than those who don’t.

1.1.3.      Ideas to burst a mind map with information

Idea sorting

Idea expanding

Idea focusing

 

1.2. Proper storage of the idea in a dashboard.

What is a data dashboard?

A data dashboard is an information management tool used to track, analyze, and display key performance indicators, metrics, and data points. You can use a dashboard to monitor the overall health of your business, department, or a specific process.

Why should you use a dashboard?

Dashboards aggregate data from multiple data sources. A dashboard isn’t just about saving time, but seeing all of your data together in one place.

Differences between dashboards and reports

The difference is about the shift in perspective from periodic reporting (like quarterly or yearly) to continued monitoring (like daily or weekly). What makes dashboards and reports so valuable is how you and your team use them to your advantage.

• Dashboards are interactive you can segment, filter, and visualize your data
• Dashboards display live, dynamically updated data (as your data source updates, your dashboard does too)
• Reports share information on known areas of interest or goals
• Dashboards monitor known areas of interest or goals

Benefits of using a dashboard for your business:

• Easy to read
• Save time by reducing or eliminating manual reporting tasks

 

 

 

 

1.2.1. Powerful content creation

How can we make powerful content?

• Send new content to your email list so your clients know about the update right away. Email subscribers are a great audience to promote your marketing materials to because they’re already engaged and much more likely to share your content.
• Share your content on social media. You can create a series of posts to fully cover your content and look at it from the new angles.
• Advertise your content by creating Google AdWords or Facebook Ad campaigns. It will help you boost the initial awareness of your content.
• Create guest posts and pitch them to other sites that are relevant to your niche. Usually, you can include links in the content to the key pages on your site. Such backlinks can help increase your content’s popularity faster.

 

1.2.2. Idea dashboard criteria description

 

A good idea dashboard satisfies the following criteria:

·         Relevance: Dashboards focus on the important, not the trivial. In a car, for example, the speedometer is larger than the call letters of the current radio station or the inside temperature, giving it higher priority in your field of view. Likewise, your idea dashboard doesn’t need to list every blog post, just those you’re most likely to want to revisit.

·         Brevity: Listings in an idea dashboard do not have to include all the information you found in the original post. All that’s needed is enough information to summarize the post and its key ideas, providing a reason for you to click the link back to the original post.

·         Visual component:It includes a visual component. In order to easily access previous posts, your idea dashboard must be “scannable;” i.e, you have be able to select relevant posts at a glance.

·         Search ability: In addition to visually scanning and selecting for relevant topics, you must be able to easily search or filter, your dashboard to locate the information you’re looking for as quickly as possible.

·         Flexibility: When setting up your dashboard, it’s unlikely that you’ll “get it right” the first time. As a result, it must be easy to rearrange your dashboard to reflect your changing interests or priorities.

 

1.2.3. Key categories and right format selection

 

Choose your key categories

 

Selectivity is the key to success: Selectivity involves self- duration — identifying topics that are most relevant to you.

 

Choose the right format

 

Next, choose the right format for your dashboard. Your two primary options are spreadsheets (like Excel, or Google Docs) and mind maps.

 

 

1.3. Right creation of characters profiles

1.3.1. Character’s basics

Names

Races

 Age

Nationality

1.3.2. Appearance and mannerism

 

Hair

 Eye,

skin

color

 Thin

1.3.2.1.Physical Appearance:

• Skin Tone:
• Complexion:
• Eye Color:
• Natural Hair Color:
• Height:
• Weight:
• Body Type:
• Build:
• Posture:
• Birthmarks:
• Scars: 
• Dominant Hand:
• Age Character Appears to Others:
• Dyed Hair Color: 
• Usual Hairstyle: 
• Tattoos:
• Piercings:
• Makeup Style:
• Clothing Style:
• Clothing Size:
• Shoe Style:
• Shoe Size:
• Nail Appearance:
• Painted/Natural/Manicured/Rugged/FakeEyebrow Shape:
• Features:
• Face Shape:
• Facial Hair:
• Voice: What does it sound like?
• Distinguishing Feature: What people notice right away

1.3.3.      Abilities and progression

1.3.3.1.Character development

Why is character development important?

Character development is important because the more developed a character is, the more realistic the character is – and readers want to invest in characters that are believable. 

1.3.3.2. Character history

• Energy Level: Is your character more active, or sluggish generally? 
• Memory Level: Does your character often forget people’s names, or do they have a photographic memory? 
• Disabilities: Is your character impaired in any way?
• Phobias: What is your character very scared of?
• Addictions: Does your character have a smoking addiction, or maybe an addiction to social media?
• General aptitude: Are they fast learners? Do they have poor problem solving skills? 
• Mental Strengths: Is your character mentally tough? 
• Mental Weakness: In what aspects is your character mentally weak?

1.3.3.2.Character Preferences

Everyone has their likes and dislikes, from books to activities to the time of day. By answering all of these questions about your character, you’ll be able to build up a person that’s realistic and believable. 

These are the personal preferences questions for your character’s bio: 

• Diet: 
• Favorite Foods: 
• Favorite Drinks:
• Favorite Movie: 
• Favorite Music:
• Favorite Book: 
• Favorite Place: 
• Favorite activities: 
• Favorite time of day: 
• What makes them happy?
• What makes them sad?
• Hobbies:
• Interests:
• Favorite animal:
• Loves to do: 
• Hates to do:
• Inspired by: 

 1.3.4.Conflict

Conflict is what drives a story. Without opposition, the story becomes lifeless. Learn the four types of conflict and how to effectively use them in your next screenplay.

The opposing force created, the conflict within the story generally comes in four basic types:

Conflict with the self, Conflict with others, Conflict with the environment and Conflict with the supernatural.

Conflict with the self, the internal battle a lead character has within, is often the most powerful. To be one's own antagonist is of great distress to most and can result in incredible storytelling if done correctly. 

Conflict with others It occurs whenever people disagree over their values, motivations, perceptions, ideas, or desires. Sometimes these differences appear trivial, but when a conflict triggers strong feelings, a deep personal need is often at the core of the problem.

Conflict with the environment is not limited to physical landscape. Environment encompasses society and every aspect of it. In 2005 a number of film releases featured society as a major oppositional force.

supernatural conflict occurs when a character faces resistance from a supernatural force, such as fate, magical forces, otherworldly beings, religion, or dieties.

 

 

1.3.4.      Plot progression change

What is a Plot?

To put it simply: you can’t have a story without a plot.

It doesn’t matter if you have a strong concept, an incredible cast of characters, an important message, or all three. If you don’t have a plot, you don’t have a story.

So how do you ensure you not only have a plot, but a good one? Let’s start from the beginning.

Plot point -  An event or scene in your story.

Plot - The chain of events that make up your story, or the combination of your plot points.

Narrative arc - The order of plot points in your story.

Imagine you’ve written out all the scenes that make up your story on individual note cards. Each note card is a plot point. The stack of note cards as a whole is your plot. The order in which you organize these note cards is your narrative arc.

As you write multiple plot points or events that lead the reader from beginning to middle to end, you’re creating a plot.

It’s important to remember that the plot points in your story have to be intentional, not random. They must connect together and lead the story in a specific direction. For example, a dog sees a squirrel, a boy crashes his bike, and a little girl falls over is not a plot.

However, a dog sees a squirrel, and then its owner loses hold of its leash, causing the dog to run free, knocking over a little girl and causing a boy to crash his bike is a plot because the events connect together in a way that builds a story.

What‘s the difference between a narrative arc and a plot?

While the plot is comprised of the individual events that make up your story, your story arc is the sequence of those events. Imagine every scene of your novel summarized on notecards: the entire stack of cards is your plot, but the order in which you lay them out is your story arc. Thinking about your arc is essential around this point. What if your Scene 1 notecard actually belongs in the denouement? What if you have too many scenes based on internal conflict in a row (leaving the external conflict to wither)? Carefully ordering your plot into a cohesive story arc helps readers navigate your story, and sets expectations that you can either satisfy or disrupt. If the plot is the skeleton of your story, the narrative arc is the spine. It‘s the central through-line marking the plot‘s progress from beginning to end.

The 5 Elements of  Plot

1. Exposition

This is your book’s introduction, where you introduce your characters, establish the setting, and begin to introduce the primary conflict of your story.  

Often, the exposition of a story only lasts for a few chapters because readers are eager to dive into the conflict of the story. Don’t wait too long to introduce your inciting incident and get the ball rolling! Many authors make the mistake of having their exposition be full of interesting but ultimately unnecessary information about the world in their book. Don’t do this!As much as you’ll want to make sure your reader knows all the background information, it’s not enjoyable to read pages and pages of non-action. You should immediately place the reader within the action of your story, and try to weave background information in as organically as you can here.

 

2. Rising Action

The rising action normally begins with an inciting incident, or a moment that sets your story into action. As it progresses, you’ll have multiple moments of conflict that escalate and create tension as the story moves toward the climax.

Think of it as the portion of a roller coaster where you’re climbing up to the peak. You want to continue to build your story until the reader is ready to reach the point where everything comes crashing down.

This section will take up the largest chunk of your book and can make or break your story—so be sure to make every moment of conflict more interesting than the last. Don’t be afraid to raise some questions that won’t get answered until the end of your book.  

3. Climax

The climax is the peak of tension, plot, and character in your story. It’s the moment that your reader has been waiting for—so make it exciting!

Often, this is the point in the story that everything changes, or where your main character is forced to make a life-altering decision. It should be the point where the reader is unsure where your story is going to go next. To use our roller coaster analogy, imagine you’re at the top of the peak and everything stops: what’s going to happen? A great climax will leave the readers with this feeling, forcing them to keep reading until the end.

4. Falling Action

Now that you’ve reached the peak of your story, it’s time to start moving toward a more satisfying conclusion. This is the time to start resolving conflicts and subplots so your story doesn’t feel rushed in the last few chapters. This is also where any conflicts that arose as a result of the climax can start being resolved.

5. Resolution/Denouement

Finally, the resolution is the end of your story where you can tie up the final loose ends and bring your story to its happy or tragic ending.

LEARNING UNIT 2: WRITE TREATMENT

 

At the heart of every film is the story you want to tell. It might be a story that already exists in some form – for example as a written text or a radio play. Or it might be written specially for your film. In the case of documentaries, the story could even develop during the shoot itself. Including drama in the narrative – conflicts and contrast between characters, unexpected events, extreme emotion – can make the story more interesting. The less predictable the outcome, the more dramatic the story.

To help you develop a story with good dramatic effect and bring it to life in film, you’ll need:

Ø  a synopsis

Ø  a script

Ø  a storyboard

The synopsis

 A synopsis is a short description of what happens in the film. It’s the idea for the film, put into words.

A synopsis is different from a script in that it includes only the most important or interesting parts of the story. It is usually used to present the film idea to producers and directors. You might also use it when you’re submitting your film to a festival, or when you’re applying for funding.

 

Examples of Some popular movie synopis

Colombiana In 1992 Bogota, a little girl (Amandla Stenberg) watches crime lord Don Luis (Beto Benites) and his henchman Marco (Jordi Mollà) murder her parents. Fifteen years later, the now-grown Cataleya (Zoe Saldana), who is named for a Colombian orchid, works as a contract killer for her Chicago-based uncle (Cliff Curtis). Leaving a lipstick drawing of her namesake on every victim, Cataleya carries out her assignments with cold, frightening efficiency and dreams of avenging her family.

Initial release: July 27, 2011 (France)

 Director: Olivier Megaton

 

 

 

What Is a Treatment?

A treatment is a document that presents the story idea of your film before writing the entire script. Treatments are often written in present tense, in a narrative-like prose, and highlight the most important information about your film, including title, logline, story summary, and character descriptions.

Treatments are a way for a writer to test out an idea before investing their creative energy fully into a new screenplay. Treatments also allow for writers to summarize their story idea so they can present the story to studio executives or producers who might want to finance the film.

 

Why Do You Need a Film Treatment?

Treatments can help you find your film’s story, while simultaneously helping to raise money.

By figuring out how to communicate your passion, knowledge, and vision on the page, you reach a deeper understanding of how your story needs to be told on the screen.

A script treatment comes earlier in the writing process, before any actual scriptwriting, which allows you to sort out the necessary story elements you need. The point of writing a film treatment is to:

Ø  Set up the world you want the reader to envision.

Ø  Lay out the structure of your whole story.

Ø  Help you identify plot holes, or parts of the film you’re missing.

Ø  Flesh-out characters and figure out the importance of each role.

How Long Should a Treatment Be?

The length of a treatment depends on the writer some screenplay treatments can be as short as one page while other treatments can be upwards of forty of fifty pages. If you are showing your treatments to people who want to fund your film, it is best to communicate the most pertinent information as efficiently as possible by keeping your treatment on the shorter side the sweet spot is usually between two and five pages.

The 4 Elements of a Film Treatment

Treatments contain detailed descriptions of the setting, theme, character roles, and plot in order to show how the story will play out for the audience. There are four main things a treatment should contain:

1. Title. Give your treatment a title, even if it’s just a working title.
2. Logline. This is a short sentence summarizing the principle. 
3. Plot summary. How long you want your story summary to be depends on you as a writer some writers give short one-page summaries, while others use 70 pages to tell their film’s story.
4. Key characters. Provide a breakdown of key characters, including their arch or how their character develops in the story.

How to Write a Treatment in 6 Steps

While there are different ways to style your treatment, there are a few general steps most writers take.

1. Start with your title. A title should be something that encapsulates the essence of your story. Some titles use the characters (“The 40 Year Old Virgin”), the setting, (“Manchester by the Sea”), or the premise, (“Get Out”). Titles can also be metaphorical, (“Silence of the Lambs”). Titles should be as original as possible, and not sound like or be too close to an existing film title.
2. Compose your logline. A logline is just a brief sentence (or two) that captures the general premise of your movie. In your log line, include who the protagonist is and what they’re up against in their world. This condensed summarization of the overall concept of your film should make the reader want to see the rest.
3. Summarize the concept. Here is your chance to expand on the shorter log line, and provide the next step in understanding how the film will play out. This is also where you can establish theme, tone, and cite any relevant background related to the conception of your story.
4. Set up the main characters. Who is going to be in this story? What do these characters want? How will they develop? Give a brief version of their possible arcs. You want to emotionally invest the reader by giving them a sense of who these characters are and what will become of them.
5. Explore the acts. Once you’ve set up the world and its inhabitants, it’s time to delve into the story itself. Write out how the story begins: What do we open on? Who do we see? Tell the tale of your film as if it were a short-story, and include the juicy moments to keep the reader engaged in the world you’ve created.
6. Epilogue. The final paragraph of your treatment wraps up the narrative. State what the ending is, how the premise concludes, what happens to all the characters, and what they learn (if anything). Here is where you tie up any loose ends, and give the reader a sense of what will now happen to this world.

 

2.1. Script titling

Ø  Marketability

So, how do you write that one screenplay that sells? For some people, that "one script" is their first. For others, it is their 20th. It all depends on how fast you gain an understanding of the skills and concepts that make a highly marketable screenplay.

Ø  Storytelling

Storytelling is how we tell the story. It‘s a process, rather than a formula. Storytelling begins with defining what the story is about as an idea. This is usually called theme, although theme is subtler than an abstract idea. It‘s what we feel about the story, as revealed through the moral dilemma of the main character, in opposition to other characters. For example, if you were writing a story about freedom, an interesting approach would be to create a world where the main character longs for freedom, but is subjected to servitude by his life situation, or imprisoned as a consequence of his actions. Alternately, if you were creating a story with trust at its dramatic center, there would be strong elements of betrayal within the opposing elements and characters of the story.

 

Ø  Dual meaning

A word or phrase that is open to more than one interpretation.

Other time a double meaning is intended to be understood by everyone, but either the speaker has double saying it directly or wants to be able to deny saying it later.

2.2. Protagonist identification and goals

What is a synopsis, anyway? A synopsis is a complete summary of your novel. The synopsis includes vital information about your main character(s) and all the main plot points, including how the story ends. So many writers dread writing a novel synopsis. It's not an easy task, but I've broken it down into five steps to help you stay organized and focused on the correct material.

STEP 1: GET INTO THE RIGHT MINDSET

When you take the time to think about it, writing a synopsis is really just succinct storytelling. You’ve already done the hard work of writing a full-length novel. Now, your synopsis is going to tell the exact same story, but in a “let’s sit around the camp fire and tell ghost stories” kind of way. Synopses do not need to be boring. They shouldn’t be as full of description as your manuscript, but explaining the core events of your novel should be exciting.

STEP 2: GATHER THE MOST IMPORTANT PLOT POINTS OF YOUR NOVEL

This task will require a complete read-through of your manuscript (and while you’re at it, you might as well do another line edit—it never hurts). As you read through the manuscript, pause after each chapter and write down two or three sentences to summarize what happensin each chapter. That’s it. You’re not allowed to write more than three sentences (and the shorter the sentences, the better). Focus on main events, not character development or subplots that don’t have to do with what’s at stake for your protagonist.

STEP 3: STRING THOSE EVENTS INTO A COHESIVE NARRATIVE

Now you get to show off your writing skills. You have all the main plot points written down, so you can put your manuscript away and focus on the story highlights you’ve documented. Your synopsis should be written in third person using the active voice (regardless of which point of view you’ve used for your manuscript).

The first paragraph of your synopsis should explain where and when the story takes place, who the protagonist is, and what the initial problem is for this character. After the first paragraph, start stringing events together chapter by chapter. Start by merging Chapter 1 events with Chapter 2 events, then merge Chapter 3 events with whatever you’ve written previously. 

Once you’ve made your way through all your plot notes, you should have a much smaller narrative that tells the same story as your full-length novel. It doesn’t matter how long the synopsis is at this point because you can edit it down even more later on.

STEP 4: REMEMBER THAT CHARACTERS HAVE FEELINGS TOO

Focusing on the plot is great, but youalso need to introduce the main character(s). Read through your synopsis narrative and highlight every event that has a tremendous effect on your protagonist. This is where you’ll want to include a line or two to explain the protagonist’s emotions and reactions—let the reader know how the character develops throughout the manuscript. You don’t want to do this for every plot point, so only choose the most important ones to expand upon with your character’s development.

You only need to include the development of your protagonist. You can name other main characters by name in the synopsis, but any minor characters should be mentioned by title or whatever way works best for your short narrative (for example, refer to a minor character as a “barista” rather than using the character’s name). You don’t want to clutter the synopsis.

 

STEP 5: DON'T STOP REVISING

Now that you have the plot points explained and you’ve considered your protagonist’s emotional journey, it’s time to revise the synopsis to perfection. I recommend re-reading your synopsis at leastfour times:

·         1st read: Delete any unnecessary details you come across. Remember that a literary agent or editor will read the entire manuscript if they’re interested in the story. Your synopsis cannot explain everything—it simply needs to tell the main story.

·         2nd read: Read the synopsis out loud (either to yourself or to someone else). The pacing in your synopsis should be super quick. Since you’re focusing on just the most important parts of the story, the synopsis should hold your attention until the very end. Reading out loud will help you spot any sentences that make you stumble.

·         3rd read: Focus on the synopsis sentence by sentence. Make sure each sentence makes sense and is as concise as possible.

·         4th read: Do a thorough copy edit of the synopsis by reading it very, very slowly. Check for typos or grammatical errors.

 

2.2.1. Protagonist Definition

The definition of protagonist is, quite simply, the main or lead character in a story, often called a ―hero.‖ The story must revolve around this character and the overall goal of the story must be something the protagonist can and does actively pursue.

What is a protagonist in a story?

Creating a strong protagonist is critical for developing a solid story. Different terms are often used in the protagonist definition such as hero, central character, main character, etc. S/he has to be the main focus of your screenplay. The overall story must revolve around your hero.

Some essentials for having a strong protagonist:

For a reader to want to follow the protagonist character through their journey, it‘s typically necessary the hero be likable, but not always. More than likable, they need to be relatable to the reader.

In order to reach their story goal, they must evolve in some way to make that final step toward success. Usually, the final evolution of the protagonist happens in the climax of the story.

Since the protagonist is the main focus of the story, her/his goals and evolution are paramount. Achieving those goals only happens because the protagonist takes direct action.

Drawing the audience in emotionally helps keep the reader engaged. By making the protagonist relatable, the reader wants to see them succeed.

2.2.2. Antagonist Definition

The word antagonist comes from the Greek word, ―antagonists.‖ That roughly translates into ―opponent, competitor, villain, enemy, rival.

For the most part, the antagonist is the person or obstacle standing in the way of the protagonist.

What Is an Antagonist?

It‘s easy to think of antagonists are just the ―bad guy‖ in lots of movies, but really what they‘re there to do is apply pressure to the protagonists.

Antagonists are an opposing force. They‘re not just the famous female villains and famous male villains, they‘re usually the whole reason the story happens.

 

2.3: Write a synopsis and wrap up

 A synopsis is really nothing more than a short description of your screenplay. The typical synopsis consists of a plot summary of the screenplay on one side of a sheet of paper and usually contains no more than 400 words. It highlights your main characters and what they go through during your story. A good synopsis will focus a lot of attention to conflict and resolution.

Many synopsis are written after completion of the screenplay but it's often a good idea to write out a synopsis before you even begin with FADE IN on your screenplay especially if you're trying to sell an idea to a producer ahead of time.

A good synopsis a very good tool to help writers develop an idea for a screenplay and eventual movie. A synopsis does not try to tell the whole story... Rather, it focuses on a few characters and the most important parts of the story. A good synopsis makes the person who reads it want to see the movie.

 

Elements to be aware of when writing a good synopsis:

• Limit your synopsis to one page or less.

• Include a sentence or two about your beginning scenes.

 • Describe where the story happens and at least the major character.

 • Other characters can be introduced, but don‘t make the synopsis too detailed.

 • Include the most important conflict or events in the story.

• Use the present tense except for events that come before the story.

• Link synopsis paragraphs to one another in a logical way – so they flow.

• Write your synopsis paragraphs so anyone can understand your story.

• Try to convince your reader that your story is interesting and would make a great movie.

• Include a sentence or two about your ending scenes.

• Let your voice or style come through in your synopsis.

• Always proofread your synopsis for correct style, grammar, and usage. The test your synopsis, ask yourself the following questions.

 • Does my synopsis give a producer an accurate view of my story?

• Based on my synopsis, could a producer easily pitch my screenplay to others?

• Can my synopsis be easily understood or is it too complicated of a read?

2.3 Create the treatment layout and treatment structure

 

 

 

 

 

 

2.3.1. Screenplay regulation

Screen play always written in present tense.

What is included in the Film Proposal Template?

1.      The Logline

 If you speak to a producer, director or agent, that person will ask you: What is your script about? This is your Logline. You will have 30 seconds to describe the plot in a captivating way and be able to state the main concept of your story in one concise sentence

2.      Film Synopsis

The introduction or synopsis is the most critical element of your film proposal. It tells how compelling the project is and reveals how passionate the filmmaker is. If your synopsis is dynamic and is strategically placed, it will remain active in the readers mind.

3.      Screenplay Structure

This is a visual industry and the person reading your film proposal needs to visualize your story, here you will give a brief summary of each scene that includes pictures. Many screenplays are organized into a 3-act structure:

Act 1: The Set Up: classically 30 minutes long us where the situation and characters and conflict are introduced.

Act 2: The Conflict: often an hour long, is where the conflict begins and expands until it reaches a crisis.  Act 3: The Resolution: the conflict rises to one more crisis and is then resolved.

4.      Characters / Actors

Describe the character or actors in detail and why their experience is important to your film.

5.      Film Treatment

This part of the film proposal should read like a short story and be written in the present tense. The film treatment presents the entire story including the ending, and use some key scenes and dialogue from the screenplay it is based on. It is more detailed than the synopsis and may include details of directorial style that an outline omits.

6.      Production Crew

Include brief biographies of your key crew (e.g Producer, Director, Writer, Director of Photography, Sound Editor, etc). Include information that shows their experience in your type of film and why they are beneficial to the project. The stronger your crew is, the more likely your project will get funded.

7.      Target Audience

Identify which type of audience your film will focus on.

8.      Abbreviated Budget

 Add the top sheet created in your Film Budget that shows your proposed expenses and income in abbreviated form.

2.3.2. Application of traditional slugs

Elements of Screenplay Format

 

Every script, no matter the writing or story genre, includes the same organizational parts. These elements help anyone who reads the screenplay to understand who’s talking or doing what when, where, and how. Here are the elements you should use to organize the content of your visual story:

• FADE IN

• Scene Heading

• Action

 • Character Name

• Dialogue

• Parenthetical    

• Extension

• Transition

 • Shot

FADE IN

 

This is the starting point of every script. It’s when the figurative “curtain” lifts and the story begins. This transition phrase should only be used once at the very beginning of your script, right before the first scene heading or scene description paragraph. The phrase should be in all caps and end in a colon to indicate continuation as the story begins to unfold, as such — FADE IN:

If your story starts with a voice-over or a sound effect before the audience sees any visuals, you can begin the script with OVER BLACK, then write the character’s voice-over as CHARACTER NAME (V.O.) and the line or just write the sound effect in the action line. Once your story introduces a visual, that’s when you can use “FADE IN:” to officially begin.

 

Scene Heading

Also known as a “slug line,” the scene heading briefly describes where each scene takes place. It should be written in all caps and use periods and hyphens to properly segment each part, which are:

 

·         General location: Decide whether the scene takes place inside or outside of the specific  location. Use INT. (for interior) or EXT. (for exterior). This element helps establish the scene’s surroundings.

 

·         Specific location: This is exactly where the scene takes place and where the camera is located in reference to the characters, which can help readers better visualize where they are as the audience when viewing the scene.

 

·         Time of day: Include the time of day to help readers track the timeline of the story as well as better set the scene. The most commonly used times of day include DAY, NIGHT, EVENING, and the occasional LATER, which may be used to indicate that not much time has passed.

 

 

Here are a few examples:

 

INT. APADE– NIGHT

EXT. APADE MULTIMEDIA– DAY

Three kinds of Scene Headings

The proper and creative use of scene headings is a valuable screenwriting skill.

 ØA master scene heading :is a scene heading that identifies the master (or primary) location. It contains the three parts previously mentioned: camera placement, the master location, and the time.

ØA secondary scene heading : is a scene heading that identifies a secondary location that is part of the master (or primary) location. For example, if the master location is Bubba’s house, then secondary locations could include the kitchen, living room, bedroom, and so on. Because the secondary location is part of the master location, camera location and time do not need to be indicated in the heading.

 

 

 

Subheaders

Subheaders are like small slug lines that are more casual and explain when the scene occurs in another place or time (ex: Later, or Library).

Action Lines

Also referred to as scene descriptions, action lines are used to show readers what’s going on in a scene. This includes:

·         Character description: When we first meet a character, you should briefly describe their qualities so readers can visualize what they look like, how they walk, and other physical — or even personality — traits. Upon first reference, write a character’s name in all caps.

·         Scene description: Though an interchangeable term, scene description also refers to setting the scene. Briefly describe the look, feel, weather, and qualities of a setting so readers can clearly see where the story takes place.

·         Character or object action: Show the reader what characters do with strong, precise, active verbs. Objects can complete actions, too, such as “The phone buzzes on the table.” If you’re introducing an important object or want to highlight an important action, you can write the object or action in all caps, like “The RING falls from his hand.” or “She POCKETS the diamond.”

Speaking Character

Every time a person speaks, whether on-screen or in voice-over, you should write their name in all caps and centered in the middle of the page. Typically, you can just use their first name or a nickname that captures their personality. Either way, make sure you introduce their name and/or nickname in the scene description earlier in the script and be consistent when labeling their dialogue and actions in the action lines.

Dialogue

This element goes under the all-caps-and-centered character name, centered and justified. Use standard capitalization and punctuation and make it double-spaced. If you want a character to emphasize a word or phrase, you can underline it. But use that sparingly so actors and directors have the freedom to play around with scenes.

Here’s a full example:

LILY

Why did you do that? I had this under control! You

never trust me.

Parenthetical

These are mini directions from a writer that clarify how a line is supposed to be read. For example:

TERRANCE

(defensive)

I trust you. I asked you to take my dog to the vet

last week.

Parentheticals are also used for extensions to indicate when a character is speaking off-screen (O.S.) or in voice-over (V.O.), such as:

MATT (O.S.)

Will you please stop shouting? I’m trying to sleep.

CARLY (V.O.)

Matt was always trying to sleep.

Other uses of parentheticals include:

·         When characters are speaking into devices such as phones or radios (INTO DEVICE)

·         When dialogue from the next scene starts before the current scene has ended (Pre-lap)

·         When characters are performing actions while speaking (ex: Stretching, drawing, falling to his knees)

Shots

Specifying a particular type of shot (such as low-angle) is not very common, screenwriters only specify shots when it is critical to the scene.

Montage

Montages use a specific format:

1.      You first write “Begin Montage” as if it were a subheader

2.      List out your scenes as you normally would

3.      Stop the montage with “End Montage” as if it were a subheader

Lyrics

Lyrics in scripts are challenging since they take up a lot of page space, but don’t take much time to sing and each page of film script should equal roughly one minute of screen time. Typically writers either space out the lyrics with shots and actions or the general feel of the song is described versus writing out all words.

Chyrons

Text that appears over the screen to indicate the time and place to the audience (usually in spy or military movies). First, start an action line with the word “CHYRON” (or “TITLE”) followed by the text of the chyron.

Fade Out

This final transition indicates the end of your story. It’s written after the final action line or dialogue on the left-hand side, about 6 inches from the left edge of the page.

Spec Script Vs. Shooting Script

The two types of scripts are the spec script and the shooting script. A spec script, or “speculative script,” is a screenplay, just the bare-bones outline of the visual story. A shooting script is an evolution on a spec that includes other details needed for production and post-production. These often include the following additional elements:

·         Camera angles, like “CLOSE UP ON:” and “PAN DOWN TO:”

·         Scene numbers to coordinate written scenes and their filmed counterparts

·         Credits sequences, such as over an introductory montage

·         Shooting location information

·         Inserts, which are notes that the camera cuts to a specific image, such as “INSERT: PHOTOGRAPH”

·         Transitions are typically reserved for post-production editing. Examples include:

 

o    “CUT TO”: any transition that is not marked is assumed to be a cut

o    “FADE TO”: a transition where the scene fades to another scene

o    “SMASH TO”: a very abrupt cut, such as one that might come mid-sentence

o    “DISSOLVE TO”: a scene that “dissolves” into another scene, usually indicating time has passed

o    “MATCH CUT TO”: when the last shot in the previous scene (ex: hand reaching for a book) matches the first shot in a new scene (ex: a hand reaching for an apple)

o    “INTERCUT”: when two scenes are bounced back and forth, usually for phone calls

 

Some examples of  writing screenplay softwares:

 

Celtex

Studiobinder

Fade in

Final Draft 10.

 Movie Magic Screenwriter

 INTRODUCTION TO  STUDIOBINDER SOFTWARE

 

L.U 3 COMPOSE A FLASH DRAFT

 

Learning Outcome 3.1: Identify the idea through looping process

What does flash draft writing mean?

Drafting refers to actually writing the words on the paper. As part of the writing process, you will write multiple drafts of your paper. Each rough draft improves upon the previous one.

 

WHAT IS FLASH DRAFTING?

 

This term was first used (I think) by Lucy Calkins. No surprise there!! Lucy refers to flash drafting as "fast and furious" writing that is done in one writing session, rather than across several days. It is also done prior to any planning or outlining. Basically, students just open their notebooks and start writing. They don't plan. They don't revise. They don't edit. They just write.

 

Idea concept

Every screenplay begins with an idea, known in the business as "the concept." It is well-known that the script that "sells" best is one that can be pitched in two sentences or less, i.e., summed up in simple, visceral terms that appeal to people with short attention spans. This form of mental short-hand may be rooted in the marketplace, but it is also based on the fact that movies, to have mass appeal, 25 must be aimed at the senses rather than the intellect (though the best movies satisfy both).

What is the purpose of flash drafting in writing?

During the drafting stage of writing, a student develops a more cohesive text and explores their topic, directed by purpose, audience, genre, and content. Drafting helps students expand upon, clarify, and modify their initial plans and ideas, and it helps them organize their content into a meaningful sequence or flow.

WHY FLASH DRAFT?

1.      It improves writing fluency! So often, I see students struggle to get started on writing. They sit there with their chin propped on their hands, staring at the ceiling waiting for the right moment to put pencil to paper. We ask them why they are not writing and they tell us they don't know what to write, or say they are just thinking about what to write. But writers don't think about writing...they write! A lot!! All the time!! Flash drafting is a way of getting your students writing....without having to think a lot, or even knowing what they will write. It can be an effective cure for writer's block! Its not easy to get students into this habit though, especially if you are working with third or fourth graders who have been allowed to sit and do nothing during writer's workshop. You will need to model the practice by writing in front of your students, daily or weekly. So, YOU will need to practice flash drafting too! You will be surprised at how ideas begin to flow better, once you start writing.

2.      It encourages revision! It is important that flash drafting be done in one writing period...no more! Students are much less likely to want to spend time revising their writing when they have spent days drafting. They are too invested in their piece to want to make changes. When they've spent only a short amount of time on a flash draft, revision takes on a whole new meaning and becomes a true part of the writing process, rather than "that thing that we do when we finish a piece". The flash draft becomes the starting point for planning, outlining and revision.

3.      It encourages students to take risks! When I ask my students to "flash draft" I remind them that they are to write, write, write without stopping (fast and furious). The idea is to get their ideas down on the page, without worrying about getting it perfect. I say, "Just start writing....and see where your pencil takes you!" They know that they will be given the opportunity to work on the draft more, perfecting it, and making it exactly the way they want it later. This is just a first step. When students have the freedom to just write without worry of getting it right the first time...that is when their creativity flows and they begin to see themselves as real writers!

WHEN TO FLASH DRAFT?

At the beginning of a unit is a great time to have students flash draft. It is a perfect  complement to immersions lessons that you might do prior to starting a new writing unit. I like to spend a week or so reading and discussing a few different mentor texts prior to starting a unit, having students examine the structure and elements of the writing type (i.e. personal narrative, persuasive essay, informational, etc.). During this phase I have students take out their writer's notebooks and "take a stab" at the text type by flash drafting. By the end of this immersion phase we will have looked at 3 or more mentor texts and they might have written 3 or more flash drafts to get them started. Then when you begin the actual lessons in your unit, they will use their flash drafts as a starting point. It is a risk-free way to let them have a go at it!

 Another great time to use flash drafting is when students are immovable. Have them begin again by writing a flash draft. It is a quick and easy way of getting them writing again by wiping the slate clean and starting with a fresh idea.

Learning Outcome 3.2: write the dump

Exposition dump

An Exposition or “information” dump is a term used for when the writer gives away the story, the plot directly to the reader, as opposed to finely telling the story by showing it clarify. Today, we'll look at the problems with bad exposition dumps, as well as how to make ours suitable for our stories.

3.2.1 Exposition through dialogue

Exposition through dialogue is, by its nature, more realistic and organic than exposition through narration. One is a disembodied voice informing the reader of what’s going on, whereas the other is an overheard discussion between the ‘real’ people in the story. 

What is the expository writing?

The expository essay is a genre of essay that requires the student to investigate an idea, evaluate evidence, expound on the idea, and set forth an argument concerning that idea in a clear and concise manner.

 

Sample of Expository Topics

1. Explain why you admire a particular person.
2. Explain why someone you know should be regarded as a leader.
3. Explain why parents are sometimes strict.
4. If you had to be an animal, which would you be and why?
5. Explain why you especially enjoy a particular teacher.
6. Explain why some cities have curfews for teens.
7. Explain why some students are forced to leave school once they are sixteen.
8. Explain how moving from place to place affects teens.
9. Explain why getting a driver's license is an important event in the lives of many teenagers.
10. Describe the major stressors in teens' lives.
11. Explain why you like or don't like working in a team.
12. Describe some nonmaterial things that make you happy.
13. Explain why some teens commit suicide.
14. Explain how music affects your life.
15. Explain the impact of different music genres on society.
16. Explain why students listen to a particular type of music.
17. Explain why some teens skip school.
18. Explain the likely consequences of skipping school.
19. Describe the likely consequences of doing poorly in school.
20. Explain why teens do drugs.
21. Describe the likely consequences of selling drugs.
22. Describe the likely consequences of taking drugs.
23. Explain why teens smoke cigarettes.
24. Explain the likely consequences of being kicked out of school.
25. Explain the likely consequences of skipping classes.
26. Explain the likely consequences of brothers and sisters constantly fighting.
27. Explain why teens wear makeup.
28. Explain the consequences of having alcohol on the school campus.
29. Explain the likely consequences of being sexually active without using protection.
30. Explain why some teens' parents do not like to be alone with their child's boyfriend or girlfriend.
31. Explain the likely consequences of increasing the time between classes from five to 15 minutes.
32. Explain why some teens join gangs.
33. Explain the difficulties some teens have once they are in gangs.
34. Explain how life for a teenager changes once she has a baby.
35. Describe what you feel a boy should do if he finds out his girlfriend is pregnant.
36. Explain why you should or should not laugh at embarrassing moments.
37. Describe the effects of marijuana.
38. Explain the likely consequences of teens becoming sexually active.
39. Explain why it is helpful to organize your materials and activities.
40. Explain why your schoolwork is important.
41. Describe the ways you help out at home.
42. Explain the likely consequences of abolishing capital punishment.
43. Explain the consequences of adopting a pass/fail grading system.
44. Explain the likely consequences of enforcing an 11:00 p.m. curfew.
45. Explain the likely consequences of ending forced busing.
46. Explain why some teenagers dislike saying the pledge to the flag.
47. Explain why some schools don't have open lunch policies.
48. Explain why most teenagers are materialistic.
49. Explain why some teens get jobs.
50. Explain the consequences of having a job while in high school.
51. Explain the likely consequences of dropping out of school.
52. Describe some productive ways students can spend their leisure time.
53. Explain why dealing with their parents' divorce can be difficult for many teens.
54. Explain why teens love their parents even when family situations are difficult.
55. Describe the things that bring you the greatest happiness.
56. Describe three things you would like to change the world and explain why you would change them.
57. Explain why you prefer living in an apartment (or house).
58. Describe the likely consequences of requiring a childbearing license.
59. Describe three objects that symbolize our culture and explain why you selected them.
60. Explain why you are interested in a particular career.
61. Explain the likely consequences of requiring students to wear school uniforms.

3.2.1.1 Exposition prop

 

What is Expository Text?

When we read fiction novels, we are taking in narrative text. This type of text tells a story and generally uses a lot of emotion. The opposite of this is expository text, which exists to provide facts in a way that is educational and purposeful. The text is fact-based with the purpose of exposing the truth through a reliable source. True and deliberate expository text will focus on educating its reader. Other descriptors of exposition are clear, concise, and organized writing. Expository text gets to the point quickly and efficiently.

Expository text is information-based text. Some common examples are:

Textbooks

News articles

Instruction manuals

Recipes

City or country guides

Language books

Self-help books

3.2.1.2 Exposition rules

 

1. Eliminate exposition that isn’t absolutely necessary or that will become clear as the story moves forward. 

2. Deliver exposition in scenes that contain conflict. An argument that starts about one thing often escalates when past issues are brought into the mix.

3. Wait as long as possible before providing exposition, always looking for the moment of maximum dramatic impact to reveal it. 

4. Use brevity. Exposition doesn’t have to be a monologue. Just give us the necessary information, so we can move forward.

5. Use a character (main or supporting) whose job it is to deliver exposition  for instance a judge, teacher, military officer, principle, politician, scientist, etc.

3.2.1.3 Information Dump

As definition Info dumping is what happens when the author gives the reader a massive amount of background information in a matter of pages instead of letting the story explain.

Info dumping is a common writing mistake of authors who include too much information in their stories. If you info dump, you will slow the pace—and worse, you’ll likely bore readers. You never want to bore your readers.

So how do you know when to include a “chunk of info” and when it is better to strip your scenes to the bone? (Almost always, by the way.)

In this article, you can learn what info dumping is, along with some common ways writers accidentally do it. You’ll also learn some editing questions that can help you condense your writing, leaving your reader with only necessary information that develops characters or advances the plot.

 

3 Common Types of Info Dumping

 

1. Blocks of Info  Building

 

Sometimes writers think that they need to explain everything to a writer instead of trusting the reader’s intelligence. In these cases, they often drop “chunks of info” in a scene because they think that if the writer doesn’t get all these details, they won’t be able to make sense of what’s going on.

Usually this isn’t the case, and the information drowns the scene instead of enlightens the reader.

 

2.                  Character Info Dump

 

Have you ever read a book with a classic character exposition info dump? The kind of introduction of a character that explains every detail about them, from their childhood to the radiant blue color of their eyes?

Character info dumping  is probably one of the more popular ways writers info dump. They think they need to give a complete breakdown of every physical and emotional detail about the character.

 

3.                  Dump Through Dialogue

 

Avoid long paragraphs of dialogue at all costs. A novel is not a script—and even in a screenplay you’ll notice that characters have way more conversations that break up dialogue than giant monologues.

Sure, there are opportunities in novels where you might need that big speech. Atticus Finch’s closing argument in To Kill a  Mockingbird is a great example of when lengthy dialogue is appropriate—when the reader will hang onto every word instead of skim whatever is being said.

 

3.2.2 Exposition through film form

 

What is exposition?

Exposition is a comprehensive description or explanation to get across an idea. Exposition is a device used in television, films, poetry, literature, music, and plays. It is the writer’s way to give background information to the audience about the characters and setting of the story.

Exposition can be dialogue, narration, or even visual information the audience receives that helps them better understand what is going on in the story.

WHAT CAN EXPOSITION DO?

·         Reveal more about character

·         Describe the story world

·         Reveal theme

 

TIPS FOR BETTER EXPOSITION

1. Exposition should be brief

First things first. Brevity is key. No matter how you choose to deliver your exposition, always keep the audience’s patience in mind.

This is mostly relevant when you’re using dialogue to give expo. (Although, we wouldn’t want a 10 minute montage either).

We don’t need to overdue the point. If we’re revealing exposition in an organic way, using character, genre, or even conflict to do it, we probably won’t run into this problem. Let’s dive a little deeper into this.

REVEALING EXPOSITION

2. Exposition through dialogue

In screenwriting, there are several conventions for conveying information to the audience. Some are specific to certain genres, or characters, and audiences readily accept, even expect them. 

But convention can quickly turn cliché. Our screenwriting goal is to avoid cliché by bringing something new and interesting to even the most basic story.

The easiest way to exposit information is by having characters talk about it. Dialogue can be a natural way for your characters - and the audience - to learn things they need to know about the overall narrative. But the dialogue has to be motivated by something. Otherwise it may appear to be too “on the nose.”

There are ways of including necessary information in your dialogue that are realistic for the context.

This is true especially for certain genres. Let’s explore below.

EXPOSITION IN FILM METHODS

3. Exposition tropes of genres

Common tropes follow certain genres. For example, in the Fantasy genre, there is often some kind of battle that has taken place, must take place, or inevitably will take place.

4. Exposition through character

Choose characters whose job requires giving exposition.

For instance, teachers, doctors, or as we saw above, leaders of armies, are all great vehicles for delivering exposition. The amount of exposition they give agrees with the role they inhabit.

Why does this matter? Well, it's helpful when you're trying to pull off hard asks.

For example, trying to set up an important question or theme at the start of a film is a major responsibility. If a character's role is organic to the exposition they are giving, revealing major information is easy.

5. Exposition through conflict

Writing compelling conflict is a challenge all its own. But when you begin to get comfortable with the process, it’s one of the best ways to reveal exposition.

Again though, it needs to be organic.

We can’t have a character come up to another one and simply start yelling at them, revealing exposition that we don’t care about.

If we setup a reason to care about this situation, have some real stakes for the character if they fail at their goal, conflict comes easy. And when conflict starts showing, exposition starts flowing. (Sorry, it just felt right).

6. Exposition through montage

Writing for a visual medium like film or TV demands that we “show, don’t tell” as often as we can. So, a clever way of revealing a character backstory, for example, is through a montage.

A montage is a series of brief scenes, usually without dialogue, typically illustrating the passage of time. 

7. Exposition through flashbacks

Similar to the montage is the flashback. A flashback is a scene where we jump to an earlier point in our story, or to a time before the current time.

Like the montage, we can use the flashback to show instead of tell something that happened in the past. What makes a flashback different from the montage is that a montage is strictly a storytelling device.

Characters do not “experience” the montage. But a flashback is someone’s past experience, so a flashback must be motivated by character.

8. Exposition through narration

A screenwriting tool that essentially combines the flashback with dialogue is narration. Narration is information provided for the audience’s benefit only. Often it’s told from the point of view of the protagonist recounting the story from some time in the future. So that’s why it can intermingle with the flashback.

Note, even though the flashback is inferred because it’s a retelling, it doesn’t always have to be shown as a flashback. 

This narration inside of the story is a great way to reveal exposition, especially about what a character is feeling internally.

But narration can quickly become overused. So remember that narration needs to be just as motivated and internally logical as any other aspect of your story.  

For example, if you establish that a particular character is the narrator, you can’t really kill her off in the first scene unless you also establish that she’s a ghost relating the story to the audience from “the beyond.”

And of course, there are different styles of narration.

What about those times when characters narrate directly into the camera? This too, can be an effective way to reveal exposition.

9. Exposition through the fourth wall

We call this style of on-camera narration “breaking the fourth wall”.

We’ve all seen it, it’s not hard to miss. It can have a huge impact on your film, for better or worse. Use it to reveal your critical information.

 

 

 

FOURTH WALL DEFINITION

What is the fourth wall?

The fourth wall refers to an imaginary wall that separates the story from the real world. This term comes from the theatre, where the three surrounding walls enclose the stage while an invisible “4th wall” is left out for the sake of the viewer.

The 4th wall is the screen we’re watching. It’s the wall that separates the story world from the real world.

We treat this wall like a one-way mirror. The audience can see and comprehend the story, but the story cannot comprehend the existence of the audience. If you break that wall, you break that accord.

This is called “Breaking The 4th Wall." It can also be described as the story becoming aware of itself.

3 tips for breaking the fourth wall effectively

·         Be extreme: This means you need to break the fourth wall all the time, or very rarely.

·         Be thoughtful: Consider opportune scenes and moments within the scene for wall breaks.

·         Be controversial: Don’t waste your big decision with an underwhelming fourth wall break.

Many times, breaking the fourth wall is more natural when it comes at the end of a scene if for comedic delivery.

10. Exposition through title cards

A sort of visual version of narration are titles. Titles (or “title cards”) have been around as long as the film industry itself.

Modern titles are a very quick and easy way to let the audience know key bits of information without interrupting your story’s flow.

You can use titles anywhere from your prologue to your epilogue. Titles can quickly orient your audience to a location remind them of crucial plot details that build tension or even introduce characters.

But titles can also be used more creatively. BBC’s Sherlock gives us a wonderful example of how titles (and graphics) can be used to keep exposition from being a stale monologue, as well as give us a bit of insight into the mind of the eponymous character:

Titles can easily become distracting for an audience. Try to use them creatively. Fortunately, current technology allows us to use titles in a lot of ingenious ways.

11. Exposition through diegetic media

A sneaky little way you can get exposition into your story is through media your characters see and/or hear.

Old letters, an emergency broadcast, even text messages are all types of in-story media devices that can clue the audience in to important information. Diegetic sound is sound that can be heard on screen, in the story world. It’s not sound added in later, like narration, or sound effects.

The main thing to be careful of when using diegetic media for exposition is that it can easily be overused, especially in 21st century filmmaking. 

While in real life we might only ever speak to certain people via text or social media, it’s not a very interesting thing to sit and watch for 90 minutes or more. But if you do want to pepper it into your film, there are some ways to make texting look better on screen.

3.2.2.1 Mise-en-scene details

What Is Mise en Scène?

Mise en scène, pronounced meez-ahn-sen, is a term used to describe the setting of a scene in a play or a film. It refers to everything placed on the stage or in front of the camera—including people. In other words, mise en scène is a catch-all for everything that contributes to the visual presentation and overall “look” of a production. When translated from French, it means “placing on stage.”

10 Components of Mise en Scène in Film

Mise en scène creates a sense of place for the audience whether they realize it or not. It does so by using:

1. Actors: Actors, their performances, and their performance styles are crucial parts of mise en scène. When an actor is on screen, they’re typically the focal point, so their presence carries a lot of weight for the overall look of the story.
2. Location: The location of the scene sets the mood and supports the action. For example, in a scene in which a man proposes to his girlfriend, a domestic setting sets a completely different tone than a public one.
3. Set design: Set design refers to everything the audience sees within a particular scene. These details help build out the world of the location and add even more context to the story. If it’s a dorm room, are there books and notebooks on the desk to indicate studying? Or are there pizza boxes and red cups to indicate a party?
4. Lighting: Lighting is often the tool that conveys mood most clearly. High-key lighting, often used in musicals and romantic comedies, relies on hard light to minimize shadows. Low-key lighting, often used in horror movies, features a high-contrast lighting pattern to both brighten and darken parts of the frame.
5. Shot blocking and camera placement: Blocking is working with performers to figure out their body positions, gestures, and movements on stage. In cinema, blocking also involves working out the placement and movements of the camera, and can impact the lighting, set design, and more. Both shot blocking and camera placement are effective tools that convey things like characters’ status and relationships to the audience.
6. Composition: Composition is the deliberate selection of frames and camera angles that make up a shot. Manipulating composition can accentuate the emotional themes of the story and communicate a sense (or lack) of meaning to the audience.
7. Depth of space: The depth of space is the distance between people, props, and scenery, both in relation to one another and the camera. Much like shot blocking, it can tell the audience a lot about the tone of the scene and the status of the characters. Is the space shallow or deep? Does this accurately capture the truth of the narrative?
8. Film stock: The film stock refers to the appearance of the movie on the screen. Is it in black and white, or color? Is the film fine-grain, or grainy? Each tells a different story.
9. Costumes: Costumes are the clothes actors wear and how they’re tailored to fit them. For costumes to be effective, a costume designer must know which colors look right on a character, and then reconcile this with the colors suited to the actor playing the part and the color palette of the production design.
10. Hair and makeup: Hair and makeup are the physical touches that help actors transform into their characters, such as prosthetics, blood, or aging techniques. Like costumes, hair and makeup are fundamental ingredients in the story being told.

Who Determines Mise en Scène in Film Production?

The mise en scène of a theater or film production is a collaboration among dozens of professionals. It’s determined by the director with the help of the following:

• Cinematographer
• Production designer
• Prop master
• Location manager
• Gaffer
• Visual effects supervisor
• Costume designer
• Makeup artists
• Hairdressers

But in many ways, mise en scène is not a production term. While the director and their crew are aware of the elements that contribute to a project’s mise en scène, the actual term is more often used in film studies and film criticism when discussing how or why a particular scene works.

Mise en Scène and the History of Film Criticism

In the 1950s, film critics and the French film magazine Cahiers du Cinéma began using the term mise en scène when reviewing movies. However, because there is no singular definition of mise en scène, its usage varies. André Bazin, a co-founder of Cahiers du Cinéma and an expert in Italian Neorealism, argued that as film technology became more advanced, editing became less important. He and his colleagues valued the components of mise en scène more than good editing, as mise en scène afforded directors more opportunities to be artistic. Thus, directors began using long takes to leverage the impact of mis en scène.

A long take is a single continuous shot that lasts longer than the average shot without editing or cutting away. With the help of moving cameras, the audience can follow characters and see more of their world from different angles, all while staying in the moment. When done well, a long take accomplishes the goal of conveying mise en scène.

3 Famous Films With Memorable Mise en Scène

There are many examples of mise en scène in film. Some of the most famous and well-executed are:

• Citizen Kane: During a flashback to Charles Kane’s childhood, director Orson Welles was deliberate with composition and depth of space. He placed Kane outside playing in the snow, visually between the adults debating his future. Welles also employed deep focus—a term used to describe when everything in the frame is in focus at once—to guide the viewer’s attention.
• The Graduate: Director Mike Nichols cleverly played with costuming as part of the film’s mis en scène. When we see Mrs. Robinson at the Taft Hotel, she’s wearing a fur animal-print coat, which reinforces her role as a predator.
• Amélie: Director Jean-Pierre Jeunet used production design to communicate traits about Amélie’s character. Her warm and whimsical bedroom establishes her in the audience’s mind as a positive, playful person.

10 Components of Mise en Scène in Film

Mise en scène creates a sense of place for the audience whether they realize it or not. It does so by using:

1. Actors: Actors, their performances, and their performance styles are crucial parts of mise en scène. When an actor is on screen, they’re typically the focal point, so their presence carries a lot of weight for the overall look of the story.
2. Location: The location of the scene sets the mood and supports the action. For example, in a scene in which a man proposes to his girlfriend, a domestic setting sets a completely different tone than a public one.
3. Set design: Set design refers to everything the audience sees within a particular scene. These details help build out the world of the location and add even more context to the story. If it’s a dorm room, are there books and notebooks on the desk to indicate studying? Or are there pizza boxes and red cups to indicate a party?
4. Lighting: Lighting is often the tool that conveys mood most clearly. High-key lighting, often used in musicals and romantic comedies, relies on hard light to minimize shadows. Low-key lighting, often used in horror movies, features a high-contrast lighting pattern to both brighten and darken parts of the frame.
5. Shot blocking and camera placement: Blocking is working with performers to figure out their body positions, gestures, and movements on stage. In cinema, blocking also involves working out the placement and movements of the camera, and can impact the lighting, set design, and more. Both shot blocking and camera placement are effective tools that convey things like characters’ status and relationships to the audience.
6. Composition: Composition is the deliberate selection of frames and camera angles that make up a shot. Manipulating composition can accentuate the emotional themes of the story and communicate a sense (or lack) of meaning to the audience.
7. Depth of space: The depth of space is the distance between people, props, and scenery, both in relation to one another and the camera. Much like shot blocking, it can tell the audience a lot about the tone of the scene and the status of the characters. Is the space shallow or deep? Does this accurately capture the truth of the narrative?
8. Film stock: The film stock refers to the appearance of the movie on the screen. Is it in black and white, or color? Is the film fine-grain, or grainy? Each tells a different story.
9. Costumes: Costumes are the clothes actors wear and how they’re tailored to fit them. For costumes to be effective, a costume designer must know which colors look right on a character, and then reconcile this with the colors suited to the actor playing the part and the color palette of the production design.
10. Hair and makeup: Hair and makeup are the physical touches that help actors transform into their characters, such as prosthetics, blood, or aging techniques. Like costumes, hair and makeup are fundamental ingredients in the story being told.

Who Determines Mise en Scène in Film Production?

The mise en scène of a theater or film production is a collaboration among dozens of professionals. It’s determined by the director with the help of the following:

• Cinematographer
• Production designer
• Prop master
• Location manager
• Gaffer
• Visual effects supervisor
• Costume designer
• Makeup artists
• Hairdressers

But in many ways, mise en scène is not a production term. While the director and their crew are aware of the elements that contribute to a project’s mise en scène, the actual term is more often used in film studies and film criticism when discussing how or why a particular scene works.

Mise en Scène and the History of Film Criticism

In the 1950s, film critics and the French film magazine Cahiers du Cinéma began using the term mise en scène when reviewing movies. However, because there is no singular definition of mise en scène, its usage varies. André Bazin, a co-founder of Cahiers du Cinéma and an expert in Italian Neorealism, argued that as film technology became more advanced, editing became less important. He and his colleagues valued the components of mise en scène more than good editing, as mise en scène afforded directors more opportunities to be artistic. Thus, directors began using long takes to leverage the impact of mis en scène.

A long take is a single continuous shot that lasts longer than the average shot without editing or cutting away. With the help of moving cameras, the audience can follow characters and see more of their world from different angles, all while staying in the moment. When done well, a long take accomplishes the goal of conveying mise en scène.

3 Famous Films With Memorable Mise en Scène

There are many examples of mise en scène in film. Some of the most famous and well-executed are:

• Citizen Kane: During a flashback to Charles Kane’s childhood, director Orson Welles was deliberate with composition and depth of space. He placed Kane outside playing in the snow, visually between the adults debating his future. Welles also employed deep focus—a term used to describe when everything in the frame is in focus at once—to guide the viewer’s attention.
• The Graduate: Director Mike Nichols cleverly played with costuming as part of the film’s mis en scène. When we see Mrs. Robinson at the Taft Hotel, she’s wearing a fur animal-print coat, which reinforces her role as a predator.
• Amélie: Director Jean-Pierre Jeunet used production design to communicate traits about Amélie’s character. Her warm and whimsical bedroom establishes her in the audience’s mind as a positive, playful person.

3.2.2.2 Camera movement

A camera movement refers to the way a camera shifts to visually narrate and shape a viewer’s perspective of a scene. In the world of film and video, there are several basic and advanced camera movements that can help enhance your story. When you move a camera a certain way, it can also alter the narrative of the story you’re trying to tell and the delivery of the content you’re presenting. Effective and well-placed camera movements make for a professional-quality final product.

How Is A Camera Movement Useful?

The particular movement of your camera can serve several purposes for your video production, including:

·         Creating dynamic scenes: Since the camera is an audience’s eyes on a story, using camera movements can make scenes more interesting, add a naturalistic element to scenes, and mimic human movement. You can even make static scenes seem active with certain camera movements.

·         Influencing audiences’ emotional reactions: Camera movements can imitate a person’s view during various circumstances. Shaking the camera during an earthquake scene can convey fear and chaos while swaying on a boat mimics sea-sickness.

·         Directing audiences’ attention: Camera movements can obscure audiences’ vision as well as pull audiences away from certain elements on-screen.

·         Controlling reveals: Adding camera movements is also a great way to provide narrative information, reveal new subjects that were once offscreen, and even foreshadow or create ironic tension that characters are unaware of.

Types Of Camera Movements

Using a variety of camera movements allows you to tailor the way the story is told, parse out information to audiences, and fully immerse them into scenes. Here are many different types of camera movements you can incorporate into your visual stories:

Tilt

When you tilt a camera, you’re shifting the camera’s view up or down without changing its horizontal direction. Though the camera remains stationary, you have control over the angle it’s at. This vertical movement can help you fit more into a single continuous shot. Tilting the camera can also help you reveal an object or person that wasn’t on screen before and add an element of surprise to the scene you’re setting.

Pan

When you pan, you’re moving your camera from left to right or vice versa, all while keeping the camera’s base fixated on a certain point. Though you’re not moving the camera, you’re changing the direction it’s facing and capturing a panoramic view. This movement uses a continuous shot to show the audience what you can’t fit in a single frame.

Panning can help you establish the location of a scene or let you follow a moving character. Panning can also help you reveal things that were previously off-screen. For example, if there’s an uninvited guest in a party scene, you can build up the tension while you pan to reveal their presence as opposed to using a fast cut.

Zoom

Zooming is used to focus on a certain area in the frame and is commonly used to go from a long shot to a close-up of the subject you’re filming. It also lets you zoom out and move farther away from a subject in a shot. There are several ways to use this camera movement creatively, such as zooming in on a fast-moving scene to add more drama and energy or zooming in on a character’s face to emphasize a humorous expression or look of terror. It’s important to use this movement sparingly to minimize distraction or overuse.

Pedestal

With a pedestal movement, the entire camera moves up or down on a pedestal, as opposed to the camera’s angle tilting. Throughout this movement, the camera is fixated on one location, such as on an adjustable tripod. When you “pedestal up,” you’re moving the camera upward. When you “pedestal down,” you’re moving the camera downward. This movement is best used to shoot a tall character or subject. To use it effectively, move the entire camera up or down on a tripod with respect to the subject.

Dolly

With this camera movement, you’re moving the camera toward or away from a subject, often by placing it on a track or motorized vehicle. When you “dolly in,” the camera moves toward the subject, whereas when you “dolly out,” the camera moves backward and away from the subject. Placing it on a stable track can help you move the camera with a fluid range of motion. This type of camera movement is often used to focus on a character when they’re lost in thought or when they’ve come to a sudden realization.

Truck

Like the dolly movement, trucking involves moving a camera along a fixed point, often on a stabilized track, but to the left or right instead of forward or backward. Performing a truck lets the camera stay with a moving subject in the shot. This movement maintains the same distance from your camera to the subject and is most effective when used with a fluid motion track to avoid shaky shooting conditions. Trucking is often used during action sequences when you want to keep the camera on a moving character.

Handheld Shooting

A handheld shot lets you take the camera on the go as you follow the action of a scene. With this camera movement, the operator takes control of the camera and holds it while performing several basic camera movements. As opposed to the stability that comes with being held by a tripod, a camera used with handheld shooting makes for a bouncy shot.

Handheld shooting can help you tell a story in a different way and make your production feel more authentic. To do it effectively, relax your body for greater stability, plan on how you want to end the shot, and get creative about how you hold the camera.

Steadicam, Floating Cam, Or Stabilized Shot

A steadicam is a wearable device that gives the shot stability while providing you with the flexibility of a handheld shot. The operator holds the camera mounted to the device while capturing a smooth, flowing shot around a central subject or character. When you perform this camera movement, make sure to use the range of motion you have to your advantage. This shot can be used for a wide variety of purposes, including to follow characters across uneven terrain.

Crane Or Jib

A jib is the projecting arm of a crane, but both terms are used to describe this type of shot where the camera is lifted to a high shooting position by a moving crane or jib. The jib extends the camera over an area, letting it move in various directions to get the shot. It’s best used for establishing shots since it helps set the scene.

If you want to take your camera to new heights, use a drone for this camera movement to give you an aerial perspective. This type of camera movement is often used when you want to show a massive crowd or to move up and away from the actors.

Rack Focus

Though rack focus isn’t technically a camera movement, it’s a camera technique that changes the focus from one point to another during a single shot. You start with the focus on one item in the foreground and then quickly shift the focal point on another item in the background, or vice versa. This technique allows you to more subtly shift the audiences’ focus between two characters, such as one standing in front of the other.

 

3.2.2.3 Set decoration

What is the meaning of set decoration?

1. set decoration - a decoration used as part of the set of a theatrical or movie production. decoration, ornament, ornamentation - something used to beautify.

 

What does a set decorator do?

Set decorators are storytellers. They create the background of the action, explaining the context, adding mood and visual interest as the drama unfolds. While prop masters deal with the placing of objects an actor holds, set decorators are concerned with the walls, floors, vehicles and furniture.

What is the difference between set designer and set decorator?

A set decorator heads the department that physically decorates the set, they select, design and create elements that will appear on the set. The production designer conceives the theme and designs for the overall look of the film.