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Guru Quote: Pilar Alessandra Sep 02

Pilar Alessandra“In Juno, the main character had a tendency to joke and elaborate in fairly graphic terms. Yet her boyfriend, Bleeker, was a one-sentence answerer. Vanessa, the woman she planned to give her baby to, was a bit of a teacher and explainer, while Vanessa’s husband, Mark, shared Juno’s language of music. Each of them had verbal rules for how they talked and what they referenced. Finding your characters’ own verbal rules will instantly help your script.”

- Pilar Alessandra, The Coffee Break Screenwriter


Guru Quotes

I’ve decided to add a new weekly feature — Guru Quotes! I feel it’s due time we celebrate those mentors/consultants/teachers/lecturers/authors who provide us with such valuable insights into the art and science of screenwriting.

One such consultant is Pilar Alessandra (whose birthday happens to be  today — Happy Birthday Pilar!). I had the opportunity to read her wonderful new book, The Coffee Break Screenwriter, a few weeks ago and was blown away by the wealth of information it contained.

It’s all in there — from concept, to beats, to rewriting, to polishing your final draft — spread out in bite-sized chunks that allow you to work your way through your masterpiece 10 minutes at a time.

Whatever your level, you’re guaranteed to find some new tool to help you in your writing. This one’s absolutely going on my list of Essential Books.

Hot Tip

For a limited time, if you order the book from Pilar’s web site, you’ll receive “a copy signed by the author and an additional CD of the key templates and worksheets within the book (includes outlining, scene-writing and pitching).”

Modern Craft: The Voices Aug 30

Intro

Screenwriting: Modern Craft

Every few weeks I’ll showcase a modern script that does something really well. The discussion will center on a specific facet of “screenwriting craft.” It won’t be a critique of the full script.

Today’s script is…

The Voices

Genre: Black Comedy / Horror
Premise: A disturbed but well-meaning man attempts to walk the straight-and-narrow while receiving advice from his “talking” pets.
Writer: Michael R. Perry
Details: 111 pages / January 28, 2009 draft
Status: In Development / Black List 2009

Screenwriting craft — What sets this script apart?

SENSORY IMAGERY

What is Sensory Imagery? Here’s a pretty good definition:

Sensory Imagery is a writing technique based on the five senses. Using [words] to describe what is seen, heard, felt, smelled, and tasted draws the reader into the story… [T]his technique helps the reader to feel transported into the place where the story takes place by helping the reader to feel, hear, see, smell what the main character [experiences].1

Basically, the more you can evoke a reader’s five senses, the more immersive and vivid your script will feel.

Sights and sounds are obviously script mainstays (“Only what you can see and hear”). But what about the other three senses? If you’re a skilled writer like Michael R. Perry, you can also strategically evoke (or suggest) touch, taste and smell.

In this example, the protagonist Jerry, returns to the spot where a woman (Katie) has been killed. (WARNING: Graphic imagery):

EXT. WOODS – TWILIGHT

Long shadows and a light rain makes the woods look radically different from the last time Jerry was here. He carefully makes his way down the edge of the ravine, and then stumbles on something.  He looks down.

Katie’s hand sticks out from under a pile of leaves.  It’s discolored and swollen except her manicure, which is perfect.

He brushes leaves off of her; she’s been outside nearly three days and is swollen, gooey and stinky.  Further, some woods animal has started eating her stomach, none too neatly.  Jerry tries to lift up her body but gets slimed with bowel oozing, is repulsed, and drops her.

Keep In Mind

  • Enhanced sensory details like taste and smell in a script are used primarily to indicate a character’s reaction to something — hence, to show what’s happening. For example, you wouldn’t describe the aroma of a hot cup of coffee if a character isn’t savoring the experience.
  • Don’t get carried away with your scene descriptions. A little goes a long way. Only utilize sensory imagery that’s essential to a reader’s comprehension of what’s going on, or to reinforce tone. You’re writing a script, not a novel, after all.

Do you utilize all five senses in your screenwriting when appropriate?

Further Reading


Need someone to review your screenplay and give you insights that are guaranteed to make it better? Please take a look at my script services.
  1. Original Sensory Imagery definition found here.
Category: Modern Craft, Writing  | 3 Comments
Quick Tip: Deus Ex Machina = Bad Aug 24

Quick Screenwriting Tip

Avoid a deus ex machina ending to your story.

What is deus ex machina? According to Wikipedia:

A deus ex machina (Latin for “god out of the machine”) is a plot device whereby a seemingly inextricable problem is suddenly and abruptly solved with the contrived and unexpected intervention of some new character, ability, or object.

I feel the need to bring up this writing tip after reading Dean Koontz’ recent novel, Relentless. The ending was so contrived, so preposterous, I had to check the spelling of the author’s name twice to make sure it was indeed that Dean Koontz.

The novel was a good reminder of why it’s important to properly establish the rules of your world in the beginning of the story.

For example: If your story’s a western, with no sci-fi components, then it shouldn’t end with the hero saving the day after discovering an alien laser gun hidden inside a spittoon.

Can you think of any movies that use deus ex machina successfully?


Need someone to review your screenplay and give you insights that are guaranteed to make it better? Please take a look at my script services.

Category: Plot, Quick Tips, Writing  | 3 Comments
Michele Wallerstein Book Signing: August 28th Aug 21

Mind Your BusinessMichele Wallerstein will be holding another book signing next Saturday. She’ll also be giving a free talk called: “How To Jump Start Your Writing Career”

As you may recall, I reviewed her new book, Mind Your Business: A Hollywood Literary Agent’s Guide To Your Writing Career, a few weeks back.

If you’re in the L.A. area, and want to pick up a great book and some terrific advice, please stop by!

Where
Borders Books
14651 Ventura Boulevard, Sherman Oaks

When
Saturday, August 28, 2010, 3:00pm – 4:30pm

Deleted Scenes Aug 20

This really should be kept secret, but you can learn a lot by watching the making-of DVDs. – Bill Murray1

Scene Bloat

Many a screenplay has been scriptwrecked by scene bloat. Either scenes go on too long, or they don’t belong in the script in the first place.

As screenwriters, one of our main goals is to make our scenes as short as possible — maximum impact/minimum words. A great way to learn how to trim your scenes is to watch the deleted scenes of your favorite movies and TV series, especially if they come with a Director’s commentary track.

The ShieldWhy were the scenes cut?

Recently I watched all 7 seasons of The Shield on DVD. It’s one of the grittiest, most innovative and exciting television series ever created. It’s also one of those rare shows that actually gets better with every season.

Fortunately for us, Shawn Ryan, the show’s creator, provides a commentary track for all of the episodes’ deleted scenes. Here are some of the most common reasons the scenes were cut, in no particular order. The lessons can be applied to both television writing and feature films.

  • Same story beats hit
    Every scene must add something new to the story; new character revelations, new plot twists, new information. If a scene or moment feels like it’s repeating itself, it has to go.
  • Impact
    Even with the most well-acted/well-directed scenes, longer does not always mean better. Cutting a scene down to its essence will keep the audience engaged and make it more impactful.
  • Wrong tone
    Comic relief has its place, but occasionally a joke or lighthearted moment can lessen the poignancy of something dramatic that’s just come before it. There are many people who believe the quick jump from the profound ending of the movie Being There, to its comic outtakes, cost Peter Sellers the Academy Award for his brilliant performance.
  • Pacing
    Sometimes a story can lose momentum if you break away from the main driving plot to deal with a subplot — especially if the intensity, interest or importance of the subplot isn’t on par.
  • Setup was unnecessary
    Most times you don’t need the setup. You don’t have to show the cops sitting at the station, receiving an alert, then dashing out to their police cars. Just start with the cops arriving at the scene. The audience will fill in the blanks.
  • Cut for time
    TV episodes have very rigid parameters for length. Even for feature films, there will always be pressure to ensure a movie has an optimal running time. When cuts need to be made, the first scenes (or parts of scenes) snipped will be ones that don’t drive the story forward.

The next time you rent a DVD, make sure to check out the deleted scenes. Watch them first without the commentary track and see if you can recognize why they were cut. Once you have a feel for it, it will help your writing immensely.

Watching and learning from The Shield… Best. Homework assignment. Evar!


Need someone to review your screenplay and give you insights that are guaranteed to make it better? Please take a look at my script services.
  1. From a fascinating interview with Bill Murray for GQ. H/T to Scott M. for sending me the link.
Category: Scenes  | Leave a Comment