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”.
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.
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.
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:
- Title. Give your treatment a title, even if it’s just a working title.
- Logline. This is a short sentence summarizing the principle.
- 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.
- 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.
- 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.
- 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.
- 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.
- 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.
- 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.
- 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 happens
in 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 you
also 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 least
four 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.
Ø
A 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.
Ø
A 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
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
- Explain why you admire a particular
person.
- Explain why someone you know should
be regarded as a leader.
- Explain why parents are sometimes
strict.
- If you had to be an animal, which
would you be and why?
- Explain why you especially enjoy a
particular teacher.
- Explain why some cities have
curfews for teens.
- Explain why some students are forced
to leave school once they are sixteen.
- Explain how moving from place to
place affects teens.
- Explain why getting a driver's
license is
an important event in the lives of many teenagers.
- Describe the major stressors in
teens' lives.
- Explain why you like or don't like
working in a team.
- Describe some nonmaterial things
that make you happy.
- Explain why some teens commit
suicide.
- Explain how music affects your
life.
- Explain the impact of different
music genres on society.
- Explain why students listen to a
particular type of music.
- Explain why some teens skip school.
- Explain the likely consequences of
skipping school.
- Describe the likely consequences of
doing poorly in school.
- Explain why teens do drugs.
- Describe the likely consequences of
selling drugs.
- Describe the likely consequences of
taking drugs.
- Explain why teens smoke cigarettes.
- Explain the likely consequences of
being kicked out of school.
- Explain the likely consequences of
skipping classes.
- Explain the likely consequences of
brothers and sisters constantly fighting.
- Explain why teens wear makeup.
- Explain the consequences of having
alcohol on the school campus.
- Explain the likely consequences of
being sexually active without using protection.
- Explain why some teens' parents do
not like to be alone with their child's boyfriend or girlfriend.
- Explain the likely consequences of
increasing the time between classes from five to 15 minutes.
- Explain why some teens join gangs.
- Explain the difficulties some teens
have once they are in gangs.
- Explain how life for a teenager
changes once she has a baby.
- Describe what you feel a boy should
do if he finds out his girlfriend is pregnant.
- Explain why you should or should
not laugh at embarrassing moments.
- Describe the effects of marijuana.
- Explain the likely consequences of
teens becoming sexually active.
- Explain why it is helpful to
organize your materials and activities.
- Explain why your schoolwork is
important.
- Describe the ways you help out at
home.
- Explain the likely consequences of
abolishing capital punishment.
- Explain the consequences of
adopting a pass/fail grading system.
- Explain the likely consequences of
enforcing an 11:00 p.m. curfew.
- Explain the likely consequences of
ending forced busing.
- Explain why some teenagers dislike
saying the pledge to the flag.
- Explain why some schools don't have
open lunch policies.
- Explain why most teenagers are
materialistic.
- Explain why some teens get jobs.
- Explain the consequences of having
a job while in high school.
- Explain the likely consequences of
dropping out of school.
- Describe some productive ways
students can spend their leisure time.
- Explain why dealing with their
parents' divorce can be difficult for many teens.
- Explain why teens love their
parents even when family situations are difficult.
- Describe the things that bring you
the greatest happiness.
- Describe three things you would
like to change the world and explain why you would change them.
- Explain why you prefer living in an
apartment (or house).
- Describe the likely consequences of
requiring a childbearing license.
- Describe three objects that
symbolize our culture and explain why you selected them.
- Explain why you are interested in a
particular career.
- 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:
- 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.
- 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.
- 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?
- 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.
- 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.
- 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.
- 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?
- 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.
- 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.
- 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:
- 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.
- 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.
- 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?
- 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.
- 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.
- 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.
- 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?
- 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.
- 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.
- 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.
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