Day 5: What I learned rewriting my scene/character…?

[Paul McGregor]

Week 4, Day 5.

What I have learned has been in the re-writing of a scene between two minor characters. This has been a breakthrough since I have tried to put more meaning into things happening around them, rather than in the words they speak. All of these scenes are showing me just how much meaning can be communicated in a scene without the spoken word.

END

[Trish Carothers]

Hi Paul. I’m curious about your statement of meaning without words. I agree. How is this “action” expressed in the script?

[Paul McGregor]

Sorry, Patricia, for the delayed response. What I meant by that was how much meaning can be communicated by lighting, location, dress and many other physical factors, before the character opens their mouth. It’s like public speaking in general. When you get up before a group of people to deliver a speech, for example, you have spoken before you open your mouth – dress, demeanor, how you look at the audience etc. Of course, we are not supposed to do the director’s job with our descriptions. Still, this scene from A Star Is Born did get me thinking about how much meaning we find in a scene that is not spoken in the dialogue. All the best!

[Sandeep Gupta]

In the screenplays on top of my mind the relationships that I have understood are psychologically very symmetric, the conflict comes from maturity of both, and other circumstantial limitations. Given that I’ve seen five contrasts in two consequent lessons, I am wondering if what I have is enough to host as much drama a script needs. Part of the problem may be I have not counted or planned these. That’s what I have. So far.

[Trish Carothers]

Sandeep, My Gmail is not responding to WordPress, so I cannot reply. I thought that is why I set up Twitter but there are many others with your name. Is there a better identufier so I can get this to you for feedback? Plse reply to my Twitter at

CaroTrish49026 and we’ll see if this works. Thanks

[Sandeep Gupta]

just sent you a reply on your first message with a link.

thanks Trish…

[Trish Carothers]

Hey Sandeep…did u try to go to my twit account from Utah?

[Sandeep Gupta]

i did Trish, you haven’t opened up DMs, so i can’t send. mine are open. again, at www twitter com / screenwriting_1 and you don’t have to follow me there. anyone can DM me.

[Trish Carothers]

Thanks Sandeep. I don’t yet know enough to know what to do. So back I go. Maybe by the time class is over I’ll be up to scratch!

[Deb Johnson]

In my story, my protagonist does have a “crush” that will grow as the story plays out. It’s important that I create these small moments as the chemistry grows between them.

[David Moe]

What I learned – If demonstrating affection and attraction are the aim, I have to place my characters in different situations where where it could be interesting. Romance has never been something I’ve strived for, but if it’s there, empathy becomes possible. Food for thought.

[Karyn Laitis]

What I learned from this assignment: The building character attraction arises from complimentary character needs. In this scene two characters are brought together by talent; Jack is smitten and Ally is infatuated. Their emotional needs are complimentary—he needs to be admired/adored to fill the emptiness. She needs a mentor to believe in and boost her self-worth. What he can give to her, he cannot provide himself. Character flaws provide opportunities for layers including attractions.

[Trish Carothers]

What I learned is that on one major scene I thought was mostly about love that must end for main characters, I can put onto their emotional leave taking comments that incidently tie into a different lead character they don’t even know but have a commonality with that adds cohesiveness to the whole story. Might use it again for a different tie in to cohesiveness.

Secondly, breakthrough on seeding comments that point to their futures in a coming scene.

[Rita Adewole]

What I learned from my re-write is that wounds are fundamental to revealing character. In a way it is a past that’s enabling us to route for the character’s future. Wounds enable emotional and conflict delivery on various levels. It can hook the audience.

My character’s wound is the failure in his past. He failed at being a successful journalist and now teaches juvie teens this module as an alternative to their A levels core subject. The first hint of his wound will be built around the drama of convincing these teens they are not yet failures and they can do it.

It will be their first point of connection though the teens don’t know it fully, they will begin to see sense in what he says.

[J.R Riddle]

What I learned from rewriting my characters is that the most interesting scenes develop from characters who come from totally different backgrounds or have different personalities, or have different age groups, cultures or countries. Think different for conflict, comedy and interesting development of scenes and story.