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Saturday, September 15, 2012

Writing Screenplay Dialogue

The paradox of great dialogue is that it sounds so real, yet it is clearly not ordinary language. Here are some essential elements of great screenplay dialogue.

How do writers create sharp, witty speech for their characters? There are some fundamentals which need to be grasped in order to boost one's dialogue-writing powers.

The most important thing to keep in mind about screen dialogue is that less is more. Cinema is a language spoken in images. Dialogue should be used sparingly and as a last resort, after a visual, active picture has been painted on the page which tells the story. Characters should only speak when absolutely necessary and even then it should be sparse, leaving much to the imagination.

Say the right words for your role.

When we do let the characters talk, every word must work hard. Dialogue has four essential functions in a screenplay: conveying character, moving the story forward, expressing subtext, and entertaining the audience.

Conveying Character

Dialogue must reveal character. This means that every line has to resonate with the person who says it. The flavor of their background should be captured in their word choices, and the syntax (arrangement of words) should be uniquely theirs.

For example, Harry Callahan's “Go ahead, make my day,” would never be uttered by Scarlett O'Hara’s maid , Prissy, nor would Callahan be likely to say, “I don’t know nothing bout birthin' no babies." Every person has their own unique world view, background, attitudes and personality quirks, and these should inform the things they say as well as the way they say it.

It helps to think about where the character is from – East or West Coast? The South? Europe? How do people talk from that region? Listening to examples can help with hearing the cadence of that particular type of speech. Next, think about the character as an individual. What is his or her educational background? What economic class are they in? Are they creative? Logical? Even-tempered? Or emotional?

Once you have a very clear definition for this character, their dialogue will naturally come out sounding like them and only them. Keep a clear vision of your character’s unique traits in mind when you draft their dialogue, and again when you revise and polish it. In the later stages of revision, a writer can feel where the dialogue is smooth and where it is still awkward and doesn’t quite do its job.

Moving the Story Forward

Well-written dialogue also imperceptibly serves the purpose of moving the story forward, by having the characters say something which leads to something happening. Either a decision is made, a question is asked, information is revealed, but in one way or another, a cause effect relationship between the dialogue spoken and the next actions taken is felt. This is one way the plot advances smoothly, with a logical flow and an engaging dose of momentum.

Expressing Subtext

Let's talk.

Third, dialogue should always contain subtext. Another way to think about this is that characters should never say exactly what they mean. This leads to dialogue that is too “on the nose,” to use the jargon of the industry. Irony and subtext are essential. Think of Thelma and Louise at the end of that movie. Thelma simply says, “Let’s keep goin’” and Louise says, “Are you sure?” and Thelma says “Yeah.” What we see is that they’re at the edge of a huge cliff with the cops behind them. What we hear would mean nothing without the image. But within that image, it speaks volumes. The text is the words on the surface, but the subtext is the meaning beneath those words, in the context of the images we see and the storyline up to that point.

Entertaining the Audience

Finally, dialogue needs to evoke a visceral response and engage the audience. With only two hours of screen time, every second counts, and the writer cannot afford to leave one dull line in. Whether it’s a funny line, a mysterious line, a poignant line, or a frightening one, make sure the line has some entertainment value. It needs to move the audience emotionally, evoking intrigue, humor, sadness, fear, or some other strong feeling, or it will fail to engage the audience.

The secret to successful dialogue might seem mysterious, but there are actually some basic guidelines a writer can follow to help create unforgettable screenplay lines.

Selected Script: Glengarry Glen Ross
David Mamet Shows How It's Done

There are movies with great dialogue, and then there are movies written by David Mamet, which exist in a class all their own. Mamet got his start writing plays, where snappy dialogue, not special effects, is what keeps butts in seats. Mamet's Glengarry Glen Ross, which he adapted form his Pulitzer Prize-winning play, is wall-to-wall great dialogue. The characters in this script grab your attention with their rapid fire speech patterns and don't let go until the last scene. Please click on the title of the script and read it. It is an excellent example of writing great dialog. Remember that the best way of learning is from seeing the real thing.

Go forward and win!

Logline Service

I have been getting a lot of request for loglines. I give different prices . Since I have so many requests for this service, I decided to set a single fix price.

Logline: $5.00 Flat Fee

A synopsis or summery is required. It well be used to form the logline. The logline is just one line.

Screenplays

Critique: $50.00 Flat Fee, Discount fee $42.50

Includes evaluating the basis elements of a script

Introduction

Development

Climax

Conclusion

Character development

Mid point development

Critiques also provide suggestions for improvements and enhancement.

Payments are made by Paypal or cashier check by mail.

Other services are at regular price.

Query Letters: $25.00 Flat Fee

Editing: $45.00 Flat Fee

Evaluating formatting to industry standards

Spelling, grammar, punctuation, sentence structure, etc.

Turnaround time:
Editing: 2 weeks
Critique: 2 weeks

Query Letters: 2 weeks

Feel free to contact me at ahicks4298@q.com or ahicks4298@msn.com.

Feel to call me at (360) 696-4298. Ask for Frances.

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Friday, September 14, 2012

Ask the Expert: Making Sure Your Subplots Aren’t Sub-Par

Question: How many subplots should I have and how do I make them work with the overall story?

A man can’t live on ‘A’ storylines alone – and neither can your scripts. If you’re not crafting and interweaving compelling subplots and B stories into your script, your story will probably feel flat and won’t sustain for 100 minutes.

Your subplots and B stories are what add new dimensions to your script and flesh out your concept and story. Most stories have at least 2 or 3 subplots, and can have more. But you don’t want them to take AWAY from the main storyline, only add to it!

The first 8-10 pages of your second act is where your main character will face their first major test or challenge and take the first step in their arc. But these pages are also where you should begin introducing and developing your subplots and B stories. Somewhere in pgs 30-40ish.

It’s a fuzzy area, but I actually think there are some differences between a B-STORY and a SUBPLOT. I think B stories usually still directly involve your main character, whereas subplots do not – at least not initially.

The B Story is your character’s secondary motivation or mission – the OTHER thing they have to accomplish. Your B Story may be a second problem or issue that your main character has to fix. And while your A-Story presents itself at the inciting incident and is solidified at the end of the first act with the acceptance of the adventure, your B-Story often can’t be identified UNTIL the second act begins, because it’s what is illuminated by the adventure beginning.

For example, in The Wizard of Oz – Dorothy’s A-Story is to find the Wizard and get home, but the B-Story becomes helping Oz and her new friends. She had no idea she was going to have to do that until the adventure began.

The B Story is often the more emotional thing, and not the visual, tangible, action-y thing. It’s connected to your concept – but is usually caused because of or caused by your concept. It’s what your hook or major storyline leads your characters to (or to do).

For example, in the political comedy Dave, the main storyline is Kevin Kline pretending to be the President and getting away with it while adapting to his very new life as the leader of the free world. But there are two B stories – or perhaps B and C story – the first is the love story with the First Lady. The second B story, perhaps the C story, is that Dave must get this bill passed to save children and cut the budget.

In my company’s own movie, Sydney White, the B story is how Amanda Bynes’s Sydney character affects and helps the “Dorks” characters. She’s still involved, so it’s not really a subplot. It’s a true secondary storyline.

Your B Story could be a love story for your main character (though in a straight romantic comedy, this would always be the A story). Very often, in action or disaster films, the B story is the love story, but it can be in any genre.

Some examples where the B story is the love story include Juno (love story with Michael Cera), Liar Liar (love story with Maura Tierney and winning his wife back is a second mission and motivation to overcoming the issue of not being able to lie), Twister, Armageddon, 2012, Die Hard, etc – all have B love stories.

In contrast, your subplots are basically a way for you to cut away from your main storylines and main characters and infuse different life and personality into your story. These subplots do NOT have to include your main characters, and probably shouldn’t. However, it usually does and SHOULD intersect and affect your major plotline at some point.

It could be your sidekick, best friend, mentor character or antagonist that you’ve introduced us to in the first act, now develops their own slightly separate storyline and goals. Or it could be a totally NEW character that you introduce here.

Your subplots actually can cause or lead to your turning points in your second act if they intersect well with your major storylines. For instance, in The Ref, the two subplots are the son’s storyline and the Drunken Santa storyline. They eventually intersect and affect the main storyline of Denis Leary and the parents, but they are separate.

In thrillers like Primal Fear, The Negotiator, or Long Kiss Goodnight, the subplots are the behind the scenes politics or overarching stories of corruption, dirty cops, revenge, business, etc. that affect and help drive the main action. In Primal Fear, there’s a real estate subplot that leads to discovery of clues that intersect with the main storyline, but it’s just a subplot and doesn’t directly involve the main characters.

Or the subplot could be the OTHER side of your love story. For example, in Six Days 7 Nights, the major storyline is Anne Heche and Harrison Ford’s love story developing as they try to get rescued, but the subplot is their respective boyfriends/girlfriends back on the mainland as they get closer.

Remember – much like your main ‘A’ storyline, your B stories and subplots should have a set up, a beginning, middle and end – they need a structure – and they need to be resolved. This is done usually by the end of your second act or middle of your third act – but it depends on how big and important the subplot is.

Your B story – your character’s secondary missions – they have to include obstacles just like the A story does. And your subplot MUST have conflict – or else it is not a subplot, it’s just filler! I’ll say that again – if your subplot has no conflict, it’s just filler.

The subplot must also connect with your story’s main theme. In fact, the subplot often drives home the theme even more specifically and obviously than your A storyline. Look at Crazy Stupid Love – had tons of storylines and subplots, but even the smaller subplots of Steve Carrell’s kid’s love life and the funny angry neighbors all added to, and brought out, the theme of the story.

If you have a true ensemble piece – meaning there is pretty equal screen time shared amongst 5-10 different characters, then you don’t need subplots because each of your characters will have their own storyline and those will be more than enough to use to cut away from whatever else is going on, and progress the story. Basically, your whole story is made up of subplots that tie into an overarching concept, story or theme. For example – Crash, Love Actually, New Year’s Eve, Traffic, etc. But keep in mind that many of these storylines should intersect in some way at some point just like your subplots would.

And if you have created a wonderful subplot on page 32 and introduced new characters, but then we don’t see them again until page 83, then you haven’t tracked that subplot well enough and it will not seem important enough to the story. After your major structural points or turning points, that’s usually a great time to cut away from your main characters and check back in with your subplots.

So as you develop your script, make sure you’re creating and tracking subplots and B stories that are just as compelling as your major storyline so that your concept, hook and theme truly shine.

Danny Manus is an in-demand script consultant and CEO of No BullScript Consulting, and author of “No B.S. for Screenwriters: Advice from the Executive Perspective.” Ranked one of the Top 15 “Cream of the Crop” script consultants in CS Magazine in 2010, he was previously the Director of Development for Clifford Werber Productions (Cinderella Story, Sydney White) and Sandstorm Films (The Covenant, 8MM2), which had a first look deal at Screen Gems. He is also attached to produce several projects independently, is a columnist for Business of Show Institute, and teaches seminars and workshops all across the country.

Go forward and win!

Logline Service

Screenplays

Critique: $50.00 Flat Fee, Discount fee $42.50

Includes evaluating the basis elements of a script

Introduction

Development

Climax

Conclusion

Character development

Mid point development

Critiques also provide suggestions for improvements and enhancement.

Payments are made by Paypal or cashier check by mail.

Other services are at regular price.

Query Letters: $25.00 Flat Fee

Editing: $45.00 Flat Fee

Evaluating formatting to industry standards

Spelling, grammar, punctuation, sentence structure, etc.

Turnaround time:
Editing: 2 weeks
Critique: 2 weeks

Query Letters: 2 weeks

Feel free to contact me at ahicks4298@q.com or ahicks4298@msn.com.

Feel to call me at (360) 696-4298. Ask for Frances.

Film script format, writing film scripts, screenwriting services, coverage service, screenplay formatting margins, screenplay writing, screenplay format example, Search terms: screenplays, screenwriting service, edit and critique service, writing screenplays, screenplay format, loglines, query letter, film scripts, movie scripts, screenplay format, screenplay synopsis, script synopsis, treatment, proofreading service for writers, novels, writing services, fiction writing, film script format, writing flim scripts, screenwriting service, coverage service, screenplay critique service, screenplay format margins, screenplay writing, screenplay format example, free writing tutorials, script consultant, screenwriting jobs, film production companies

Wednesday, September 12, 2012

Adapting A Screenplay from Literature

By Michael Rabiger

There is a constantly growing supply of plays, novels, and short stories that might adapt well to the screen. Good literature can however be a quicksand if you assume that the story will make an equally fine film. Effective adaptation may actually be impossible if you can find no cinematic equivalent for the author’s writing style and literary form. A story that relies on a subtly ironic storytelling voice, for instance, might be a bad choice because there is no such thing as ironic photography or recording.

Most of the criteria for judging material for an adaptation remain the same as those used to assess any script:

Does it tell its tale through externally visible, behavioral means?
Does it have interesting, well-developed characters?
Is it contained, specific, and affordable in its settings?
Are the situations interesting and realizable?
Is there an interesting major conflict, and is it externally dramatized rather than internal?
Does the conflict imply interesting metaphors?
Does the piece have a strong thematic purpose?
Can you wholeheartedly identify with its theme?
Can you invent a cinematic equivalency for the story’s literary values?
Can you afford to do it?
Is the copyright available?

Go forward and win!

Logline Service

Screenplays

Editing is Murder

by JEANNE VEILLETTE BOWERMAN

The email pings. It’s your trusted script consultant. Yes! Maybe she loved your script. You open the message with hope and excitement:

“Script is great… but cut 25 pages.”

Slashing 25 words is one thing, but cutting 25 pages takes an entirely different approach. You’ll need Dexter for that killing spree. But when it’s done, your story will be free of everything that’s dragging it down.

Often people interchange the words “editing” and “rewriting.” Rewriting requires major story analysis, challenging your character development, plot, conflicts and subplots. Editing is the process after the rewrites. With a few tips, you’ll be as efficient as a serial killer.

To perform the perfect murder, you need to know how to clean up the crime scene. Start with the big stuff and wipe the fingerprints last. It’s the same for a script:.

1. Story structure: Have you hit all the turning points of the story? Have you pushed your protagonist to the point of torture? Is there too much fat and not enough action? Is your theme clear?

Take a good look at the story foundation and be brutally honest. Often in a first draft, we beat the reader over the head. Have a writer or trusted advisor read it to identify holes. But to be honest, this step is “rewriting” and should happen long before you start the detailed editing. Just sayin’.

2. Scenes: Each scene has to be meaningful, and hopefully, serve more than one purpose. If all it does is provide exposition of a character or a single plot point, it’s not developed enough.

Take each scene one at a time and ask:

Does it advance the story?
Does it add exposition?
Does it create a new conflict?

If the answer isn’t “yes” to two out of the three questions, sharpen that blade and kill the darling. But if there’s an important piece of exposition, find a way to add it to a different scene.Another trick for cutting scenes is to examine the flow of the story. Put each scene on an index card: Plot A on blue, Plot B on yellow, Plot C on green, etc. Lay them on a table and switch up the order. Some scenes fall away naturally.

*tip: put your dead scenes in a folder. You might need to revive them in later revisions… but ONLY if they work.

3. Start late and leave early: Now you have the scenes you want, make them late for the party. Once you think you’ve entered the room late enough, enter even later.Challenge each scene to serve its purpose in fewer words. Above all, choose the final line of the scene carefully. Does it leave the audience hanging, needing to know more? It should.

4. Action should mean action: Scripts are entirely different than novels. Less is more. No flowery, self-indulgent, garbage prose. Get to the point. Fast. Cut those adverbs and adjectives. Only write what the audience can see on screen. Period.

5. Talk ain’t cheap: Read every piece of dialogue out loud. Most people write rambling dialogue in early drafts. Make it sound natural in as few words as possible. If you can convey in ACTION what the character is spewing from their mouth, do it.

6. Divide and conquer: Read every line of action and dialogue as a standalone to determine if it is imperative to either the subplot or the main plot. With a 120-page limit (some say 110 is the sweet spot), there’s no room for fluff, except on the peanut butter sandwich.

Script consultant, Marcus Leary, once wrote a post advising screenwriters to use the 140-character Twitter rulewhen writing action and dialogue. Great advice.

7. Simon says, “go backwards”: Screenwriter Holly Nault Pillar taught me the trick of reading the script backwards, one line at a time. This way, you don’t get distracted and pulled into the story. You simply are an editor of words. Ask yourself, “Can this story be told without this line?” The fat will rise to the top.

8. Make it a silent movie: Remove all the dialogue… every single word. Then read the action as if it were a silent movie. This will force you to avoid the “talking heads” problem of exposition via dialogue. See what you can remove from speech and replace with action.

Once the script makes sense as a silent film, add back any dialogue that is needed. You’ll be shocked how much isn’t. Force yourself to be picky. Allow each character only one treat, e.g. a joke or throwaway line, but only one. Trust your audience to get it. Be careful not to use your only file of the script though! Create a new one just for this exercise.

9. Wordsmithing: ScreenwritingU, a top screenwriting instruction site, discussed rewrites in a recent teleconference. Their wordsmithing tips apply to editing too:

Give more meaning with fewer words.

This is the stage to pull out the thesaurus and change “runs quickly” to “dashes”. Or if you have a whole paragraph describing the setting, change it to a small descriptor, such as, “it’s red-neck heaven”.

10. Be quotable: Your script will pop if you create one or two lines an audience will be quoting for years. We’ve all heard Rhett Butler’s line, “Frankly, my dear, I don’t give a damn,” more times than Scarlett got married. You need to create that type of line in your own film.

ScreenwritingU recommends finding that opportunity by looking in the most emotional moments of your script. At the height of a moving scene, examine the dialogue. There’s your sweet spot. Make sure the line was set up beforehand and offers perspective, as well as heightening the emotion. FYI, ScreenwritingU periodically does afree teleconference on rewrites. I highly recommend it!

11. You have one chance to make a first impression: The opening lines of your screenplay introduce you as a professional. That first page should show your voice, talent and ability to grab a reader. By “voice” I’m referring to the style of writing that sets you apart from others. What makes your voice different? Don’t imitate other styles, find one that flows from you naturally… and trust it.

Every successful murderer has patience. If I’m too exhausted to edit, I put it down for a few days. It’s okay to walk away. In fact, I encourage it. I never edit a piece I’ve just finished. I’m amazed at the flaws I find a week later. If you are resistant to patience, remember, once a script is out the door and in a producer’s hands, you’ll be in their tracking system. Even if they pass on it, the company labels the quality of your writing. Don’t be a sloppy murderer. Impatience could cost you your career.

By the way, four days after receiving the email, I had cut the 25 pages. The script got tighter… and I didn’t leave fingerprints.

Note: Wednesday, September 12th, The Writers Store screenwriting webinar, 12 Things to Nail Down Before You Start Your Rewrite, is all about rewrites. Don’t miss it! Instructor Tom Benedek, screenwriter of Cocoon, has even more useful advice.

Go forward and win!

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