Screen writing tips
Written by Stuart Price, whose script One Life, is currently under development with Northamptonshire's Reelscape Films
FADE IN:
EXT. COTTAGE - EVENING
The sun is setting on JACK, a boy on the verge of becoming a man. His ragged, yet surprisingly clean clothes, hang from an undernourished body. His two hungry eyes focus on several BEANS in his hand.
FADE TO BLACK
A script should be seen as a means to an end: the finished article, and in terms of a screenplay, a film. As with the beans in Jack and the Beanstalk, the script is not the story, but a vital stepping stone.
How does this process begin? For me, anytime and any place. An observation, a newspaper clipping, a song, a desire, the 'I can do better', or hearing a snippet of conversation in a caf:
JACK: Beans? My mother would kill me.
MAN IN STRANGE HAT: Ah! But these be magic beans.
The trigger for your inspiration will usually embrace your theme. What you as the writer wish us, the audience, to experience or question when telling us this particular story. In Jack's case, the question could be: in climbing the ladder of success, do you have to be ruthless?
And as you nurture your theme, you will need to ask yourself: how am I going to grow it? Is it a comedy, tragedy, quest, voyage and return, rebirth, rags to riches, or overcoming the monster, or as with Jack, a combination of two.
To the film industry, genre, an expansion of the basic plot structures, is very important in two ways. Through genre, producers and directors (the shakers and movers) are able to zone in on stories, whilst at the same time, specific characteristics will appeal to targeted audiences.
Christopher Booker's 'The Seven Basic Plots' is a heavy, but very informative read.
Armed with all these great ideas, you start writing. A page, two, maybe more, developing your theme through the plot, along with your characters, and their emotions. The importance of characters cannot be overstated. Whether human or not (Bambi, the Terminator), they drive your story.
At this stage, specific scenes may take shape and unless you have a limitless budget, it's wise to bare in mind how accessible and/or costly these locations and any special effects may be.
"So, I just write?" If that suits your style, then yes. Let it all flow out.
However, during this process you will need to consider how to structure the story to get the best from your plot.
Although there are exceptions, all good stories have a beginning, (life as it was - Jack and his mother are poor), a middle (the hero's world changes - the beanstalk has grown and Jack pays his grizzled benefactor several visits), and usually after some climatic event (Jack chops down the beanstalk), the end (Jack and his mother are no longer poor).
For a more in depth understanding, I suggest reading one of the many 'How to…' books available on screenwriting. Two I would recommend, being Syd Field's The Definitive Guide to Screenwriting and Blake Snyder's Save the Cat. Blake also maintains a very useful site www.blakesynder.com
So how do you turn your outline into a script? It's important to remember a script's function is to convey information to the producers, the director, the actors, set and costume designers, sound technicians, lighting etc. Consequently, a standard has developed over the years: font and size, when and how to CAPITALISE, sluglines, dialogue.
Screenwriting software will do all this for you, but it comes at a price. It is possible to download free software such as Celtx - see www.celtx.com . Either way, a good point of call is the BBC's writers room at www.bbc.co.uk/writersroom.
Once you have written a first draft however, this is rarely the end, merely the beginning. There will be dialogue that needs tightening and scenes that need more action, or more humour.
EXT. COTTAGE - DAY
Clutching the golden harp, Jack runs to his mother. At her feet, the goose HISSES.
He hands his mother the harp.
JACK'S MOTHER
Jack? What have you--
He picks up an axe and runs to the beanstalk. He swings the axe. Chippings fly .
From above, the Giant GROWLS.
The goose steps behind Jack's mother's skirt.
The axe cuts deeper.
The beanstalk sways.
JACK'S MOTHER
Jack!
One last swing. CRACK!
Jack steps back and joins his mother.
The beanstalk falls and SLAMS into the ground with a THUNDEROUS JOLT.
JACK
Now we can live happy ever after.
Jack, his mother and the goose enter the cottage.
The warm sun sets on the enchanting valley.
FADE TO BLACK
THE END
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