Post by fishr on Jul 11, 2006 11:00:20 GMT -5
Intro:
Before I went on vacation in June, I dabbled with scripts, (which will be posted, just as it's written in my notebook, but using Spell Check). I had no computer and I wanted to write, so it was the old pencil and notebook for me. People say inspiration can come from strange places, and this script is no exception. For that, I realize their are young writers on this site, and I caution them to read my script I'll provide somewhere towards the bottom.
Last night, I was talking to a member from this board who was having difficulty outlining, planning, and just unable to 'get into their char's head.' For that, I believe this person was getting a little frustrated that their character refused to 'talk' to them. I pointed out scripts have become a useful tool to me, and showed them my format. This person liked the idea of scripts and suggested I post a tutorial online. So, here I am.
The objective:
With scripts, in my opinion, they are simply notes and another factor that can release some stress because 'dialogue grammar' is unimportant. A better way to explain is think about Shakespeare's script style. He gives you a setting, a time frame, and some type of plot, without using dialogue in prose. Believe me, not having to worry about grammar in dialogue is a plus, thus you should be able to put most of your energy in the characters.
Second, I can safely bet that a writer's probably wondering, "Right, that's all fine and dandy but how do I choose a subject for my characters?"
Glad you asked. In the Objective, I will briefly answer the question but I will go more in depth in the Setting Up The Characters section. When choosing a subject, I recommend to sticking with any dialect, special quirks, or if anything, that one unique quirk that separates your character from the entire cast in the story. By this suggestion, it should help you write a scene for that char fairly easily. If perhaps, it's a new character, and they are still underdeveloped, use your own traits when writing the scene. Weird, no? But let's face it and I'd say ninety percent of any character in a story shares a portion within ourselves, and that's why some writers grow attached to them. So, as I mentioned, if the character is underdeveloped, try using your own traits when writing them into the script.
An example of a couple of my traits, that I incorporated with a young fifteen year old boy in my novel:
-overcurious
-disobedient
-irritable
-argumentative (Although, I don't believe I used this trait of mine.)
With those, I'll say three, traits of mine, I'm able to jump into a fifteen year old's head. How? Because those traits may still exist, but they certainly are not as acute as they were when I was fifteen. Still, they do give me something to work with, and hopefully it will be the same for you.
Setting Up The Characters:
With the few scripts I've written, I find a good subject and setting helps tremendously. It's especially fun when the subject may have some type of conflict such as a recent argument, marriage, or indifference. It doesn't have to be, but I find a conflict makes the script more enjoyable, and in the long run, more appealing.
Subject -
Like I mentioned, it doesn't have to have a conflict, but I do suggest placing your character(s) in a position that would surely upset them. Try and detach yourself, and you will find by placing a char in a position you normally wouldn't do, it could give you amazing results.
For me, I chose death as my subject. I wanted to really test two of my characters, and the results were outstanding but I detached myself, never letting up on their suffering. My subject is obviously touchy, and it's not for everyone, but if a subject doesn't come, I do suggest using something that is often discussed about such as death, Heaven, or life in general. Those three subjects should at least offer some direction.
Setting -
As we know, a setting in a story is usually mandatory, but of course, with exceptions. Ask yourself this question, "Where are we?"
The setting doesn't have to be overly descriptive, but give yourself an idea where the character(s) are, so you can begin writing. With this particular script I'll post, my setting is simply this:
That's it; simple and easy to follow but at least I know their body postures. If someone is sitting, they're either going to avoid eye contact or looking upwards a lot. For someone standing, I have more freedom such as that person can clamp a shoulder, slap a face (or other areas), kick, avoid eye contact, trip, stamp a foot, etc. As you can see, a character standing opens doors but the larger picture is that my setting offers possibilities without being too precise.
Time frame -
I haven't really mentioned it, mostly because it's not mandatory but if perhaps your story is set in a specific era, the date could be helpful too.
What I mean is, if you choose a specific date or just the year, it might offer you direction in the future. By leading up to, at least the year, you'll be able to plan if you decide to incorporate your script into your story somehow.
It's just something to ponder but like I mentioned, a time frame isn't mandatory.
Format:
I consider myself a visual learner, and teacher so without further ado, the script:
Note: To avoid confusion, the two characters are Samuel Adams (SAM) and Samuel Garrison as (well, as SAMUEL). So, Adams is SAM, and Samuel is SAMUEL, just to further clear up any possible confusion. My script is typed just how it appears in my notebook; unedited (but I corrected spelling errors) in colonial speech.
At this point, I stress caution but I chose this script because, to me, it's a powerful subject, and finalizes what I meant earlier about conflict and a setting. The subject, like I also said earlier, is contemplating about death. However, I do have another script that is less controversial, so to speak, if someone wants to see that instead.
*
Another quick note: To avoid confusion with my script, in colonial America, the 's' looked liked an 'f'. So, Bofton would be spelled that way.
*
Going back to formating, as you should be able to observe, I list each char but I feel capitalizing their names is more pleasant on the eyes. As you might have also noticed, I did express emotion or how those characters were feeling in between the, * * so I have an idea how these chars are to behave.
I also didn't go into great detail with descriptions but stayed consistent instead. This is the format I have been using, and so far I haven't had an issue.
Results:
In my script, there may seem to be a lot of information, but those two characters are developed. I bring it up because my intention was not to intimidate but offer a visual blueprint.
As for the result, that script is one of my favorites with my novel. It touches base on many things, and not just the wonder of something mysterious to us. The script does have a hidden message, and even people who are in tune with history may overlook it. For those who are curious, the message is supposedly our Founding Fathers often wondered if their treason was worth the expense of a noose, and if 'Americans' in the future would remember their sacrifices.
So, yes. The results were awesome! I learned a great deal from these two characters by placing them in an awkward position, and although they're not happy with me, the script allowed further insight into their mind, and outlook on life.
Conclusion:
It's been a while since I've written any articles, so I feel that I'm out of practice but I do hope this article helps someone who just wants to stab an annoying character repeatedly. ;D Believe me, you're not alone with secretive or rebelling characters.
I have two secretive characters in my novel, and one in particular (Garrick) has spoken maybe ten sentences to me in the last eight months. In fact, I was so annoyed, I wrote a script for Garrick too!
The only additional advice I can offer is, try and not stress. As we all know stress might lead to a brain fart. And remember if a subject doesn't come, choose the subject Life, and how it could directly affect your character. That subject should get you rolling.
*waves*
fishr
Before I went on vacation in June, I dabbled with scripts, (which will be posted, just as it's written in my notebook, but using Spell Check). I had no computer and I wanted to write, so it was the old pencil and notebook for me. People say inspiration can come from strange places, and this script is no exception. For that, I realize their are young writers on this site, and I caution them to read my script I'll provide somewhere towards the bottom.
Last night, I was talking to a member from this board who was having difficulty outlining, planning, and just unable to 'get into their char's head.' For that, I believe this person was getting a little frustrated that their character refused to 'talk' to them. I pointed out scripts have become a useful tool to me, and showed them my format. This person liked the idea of scripts and suggested I post a tutorial online. So, here I am.
The objective:
With scripts, in my opinion, they are simply notes and another factor that can release some stress because 'dialogue grammar' is unimportant. A better way to explain is think about Shakespeare's script style. He gives you a setting, a time frame, and some type of plot, without using dialogue in prose. Believe me, not having to worry about grammar in dialogue is a plus, thus you should be able to put most of your energy in the characters.
Second, I can safely bet that a writer's probably wondering, "Right, that's all fine and dandy but how do I choose a subject for my characters?"
Glad you asked. In the Objective, I will briefly answer the question but I will go more in depth in the Setting Up The Characters section. When choosing a subject, I recommend to sticking with any dialect, special quirks, or if anything, that one unique quirk that separates your character from the entire cast in the story. By this suggestion, it should help you write a scene for that char fairly easily. If perhaps, it's a new character, and they are still underdeveloped, use your own traits when writing the scene. Weird, no? But let's face it and I'd say ninety percent of any character in a story shares a portion within ourselves, and that's why some writers grow attached to them. So, as I mentioned, if the character is underdeveloped, try using your own traits when writing them into the script.
An example of a couple of my traits, that I incorporated with a young fifteen year old boy in my novel:
-overcurious
-disobedient
-irritable
-argumentative (Although, I don't believe I used this trait of mine.)
With those, I'll say three, traits of mine, I'm able to jump into a fifteen year old's head. How? Because those traits may still exist, but they certainly are not as acute as they were when I was fifteen. Still, they do give me something to work with, and hopefully it will be the same for you.
Setting Up The Characters:
With the few scripts I've written, I find a good subject and setting helps tremendously. It's especially fun when the subject may have some type of conflict such as a recent argument, marriage, or indifference. It doesn't have to be, but I find a conflict makes the script more enjoyable, and in the long run, more appealing.
Subject -
Like I mentioned, it doesn't have to have a conflict, but I do suggest placing your character(s) in a position that would surely upset them. Try and detach yourself, and you will find by placing a char in a position you normally wouldn't do, it could give you amazing results.
For me, I chose death as my subject. I wanted to really test two of my characters, and the results were outstanding but I detached myself, never letting up on their suffering. My subject is obviously touchy, and it's not for everyone, but if a subject doesn't come, I do suggest using something that is often discussed about such as death, Heaven, or life in general. Those three subjects should at least offer some direction.
Setting -
As we know, a setting in a story is usually mandatory, but of course, with exceptions. Ask yourself this question, "Where are we?"
The setting doesn't have to be overly descriptive, but give yourself an idea where the character(s) are, so you can begin writing. With this particular script I'll post, my setting is simply this:
SETTING: Samuel is standing, and Adams is sitting.
That's it; simple and easy to follow but at least I know their body postures. If someone is sitting, they're either going to avoid eye contact or looking upwards a lot. For someone standing, I have more freedom such as that person can clamp a shoulder, slap a face (or other areas), kick, avoid eye contact, trip, stamp a foot, etc. As you can see, a character standing opens doors but the larger picture is that my setting offers possibilities without being too precise.
Time frame -
I haven't really mentioned it, mostly because it's not mandatory but if perhaps your story is set in a specific era, the date could be helpful too.
What I mean is, if you choose a specific date or just the year, it might offer you direction in the future. By leading up to, at least the year, you'll be able to plan if you decide to incorporate your script into your story somehow.
It's just something to ponder but like I mentioned, a time frame isn't mandatory.
Format:
I consider myself a visual learner, and teacher so without further ado, the script:
Note: To avoid confusion, the two characters are Samuel Adams (SAM) and Samuel Garrison as (well, as SAMUEL). So, Adams is SAM, and Samuel is SAMUEL, just to further clear up any possible confusion. My script is typed just how it appears in my notebook; unedited (but I corrected spelling errors) in colonial speech.
At this point, I stress caution but I chose this script because, to me, it's a powerful subject, and finalizes what I meant earlier about conflict and a setting. The subject, like I also said earlier, is contemplating about death. However, I do have another script that is less controversial, so to speak, if someone wants to see that instead.
*
Another quick note: To avoid confusion with my script, in colonial America, the 's' looked liked an 'f'. So, Bofton would be spelled that way.
*
SCENE: Samuel and Samuel Adams are outside together. Adams is sitting and Samuel standing.
DATE: Possibly 1770
*
SAMUEL: Do you fear Death?
SAM: *looks up from the ground, with a somber expression*
I fear one day [our] sacrifices will be lost to the generations. I fear the future. I fear to those footsteps thy treading softly by my stone, and Remember who that sacrificed their fortunes, their freedom, their lives.
SAMUEL: I am sure the People will never forget, Sam, as long as The Memory stays alive among the citizens.
SAM: *frowns* We shall see, in Spirit, two hundred and fifty years in time.
SAMUEL: *nagging question bothers him, so Samuel asks permission*
Samuel, I have a question but be warned, it is personal. I suppose coming in contact with Death on numerous occasions, the subject is thoroughly on my mind today.
SAM: *still frowning*
I do believe that is the first ye have spoken of my full name, Master Garrison. What does this question entail?
SAMUEL: I consider you more than a mate, as you think more of me than a fellow Whig. The question is, if Death tapped your shoulder with His boney finger, and your Spirit was sent to the Golden Gates, awaiting rightful passage, where would it be; your internal sleep? I will understand if you wish to ignore it.
SAM: Are ye inquiring about my last testament, Samuel? *asks uncertainly*
SAMUEL: Yes, I suppose I am.
SAM: *in a sharp but somber tone*
A minuscule trace of the Adamses bloodline may be circulating through thy veins but ye are not of pure blood, therefore, I will not reveal the entire portion of my Will, except family.
(Samuel feels hurt by this statement. He really feels attached to Sam, and for him to basically tell Samuel that he is not a participating member of the Adam's family; it cuts deep)
(continues)
SAM: Judging from the mask of disappointment you have just instantly displayed in my presence, I will reveal an intimate passage towards the ending of my last testament. I trust, again, within Samuel Garrison, he will not speak of, so personal an aspect of myself.
SAMUEL: *clasps Sam's shoulder*
Have I not kept the bond between you and I in secrecy, even with my biological kin?
SAM: *Nods*
That you have, Master Garrison. I cannot say on your behalf, but in this Strain I am speaking of, I wish to be rested in my native Boston, in the Granary Burial Grounds, with a portion of my head etched on the top of the headstone.
SAMUEL: *nods and removes hand*
I had not thought much of it until today, but yes, I suppose I would also like to plant roots in my native home. Many thanks, Sam.
SAM: *coughs*
There is more.
SAMUEL: Oh?
SAM: *nods sullenly*
The circumstances have presented themselves this day, but as a somber a conversation this has become, I too have thought about what is to become of generations ahead of me. Privately, I have occasionally thought deeply of how I should be remembered, when all flesh has fled away. In my Will, near the ending, has enclosed the following passage:
>>>>>>>>>>>>>>SACRED
>>>>Remembe r me as I was, when ye pafs by
My decree
>>>>Will set thy free
By releasing I
DATE: Possibly 1770
*
SAMUEL: Do you fear Death?
SAM: *looks up from the ground, with a somber expression*
I fear one day [our] sacrifices will be lost to the generations. I fear the future. I fear to those footsteps thy treading softly by my stone, and Remember who that sacrificed their fortunes, their freedom, their lives.
SAMUEL: I am sure the People will never forget, Sam, as long as The Memory stays alive among the citizens.
SAM: *frowns* We shall see, in Spirit, two hundred and fifty years in time.
SAMUEL: *nagging question bothers him, so Samuel asks permission*
Samuel, I have a question but be warned, it is personal. I suppose coming in contact with Death on numerous occasions, the subject is thoroughly on my mind today.
SAM: *still frowning*
I do believe that is the first ye have spoken of my full name, Master Garrison. What does this question entail?
SAMUEL: I consider you more than a mate, as you think more of me than a fellow Whig. The question is, if Death tapped your shoulder with His boney finger, and your Spirit was sent to the Golden Gates, awaiting rightful passage, where would it be; your internal sleep? I will understand if you wish to ignore it.
SAM: Are ye inquiring about my last testament, Samuel? *asks uncertainly*
SAMUEL: Yes, I suppose I am.
SAM: *in a sharp but somber tone*
A minuscule trace of the Adamses bloodline may be circulating through thy veins but ye are not of pure blood, therefore, I will not reveal the entire portion of my Will, except family.
(Samuel feels hurt by this statement. He really feels attached to Sam, and for him to basically tell Samuel that he is not a participating member of the Adam's family; it cuts deep)
(continues)
SAM: Judging from the mask of disappointment you have just instantly displayed in my presence, I will reveal an intimate passage towards the ending of my last testament. I trust, again, within Samuel Garrison, he will not speak of, so personal an aspect of myself.
SAMUEL: *clasps Sam's shoulder*
Have I not kept the bond between you and I in secrecy, even with my biological kin?
SAM: *Nods*
That you have, Master Garrison. I cannot say on your behalf, but in this Strain I am speaking of, I wish to be rested in my native Boston, in the Granary Burial Grounds, with a portion of my head etched on the top of the headstone.
SAMUEL: *nods and removes hand*
I had not thought much of it until today, but yes, I suppose I would also like to plant roots in my native home. Many thanks, Sam.
SAM: *coughs*
There is more.
SAMUEL: Oh?
SAM: *nods sullenly*
The circumstances have presented themselves this day, but as a somber a conversation this has become, I too have thought about what is to become of generations ahead of me. Privately, I have occasionally thought deeply of how I should be remembered, when all flesh has fled away. In my Will, near the ending, has enclosed the following passage:
>>>>>>>>>>>>>>SACRED
>>>>Remembe r me as I was, when ye pafs by
My decree
>>>>Will set thy free
By releasing I
Going back to formating, as you should be able to observe, I list each char but I feel capitalizing their names is more pleasant on the eyes. As you might have also noticed, I did express emotion or how those characters were feeling in between the, * * so I have an idea how these chars are to behave.
I also didn't go into great detail with descriptions but stayed consistent instead. This is the format I have been using, and so far I haven't had an issue.
Results:
In my script, there may seem to be a lot of information, but those two characters are developed. I bring it up because my intention was not to intimidate but offer a visual blueprint.
As for the result, that script is one of my favorites with my novel. It touches base on many things, and not just the wonder of something mysterious to us. The script does have a hidden message, and even people who are in tune with history may overlook it. For those who are curious, the message is supposedly our Founding Fathers often wondered if their treason was worth the expense of a noose, and if 'Americans' in the future would remember their sacrifices.
So, yes. The results were awesome! I learned a great deal from these two characters by placing them in an awkward position, and although they're not happy with me, the script allowed further insight into their mind, and outlook on life.
Conclusion:
It's been a while since I've written any articles, so I feel that I'm out of practice but I do hope this article helps someone who just wants to stab an annoying character repeatedly. ;D Believe me, you're not alone with secretive or rebelling characters.
I have two secretive characters in my novel, and one in particular (Garrick) has spoken maybe ten sentences to me in the last eight months. In fact, I was so annoyed, I wrote a script for Garrick too!
The only additional advice I can offer is, try and not stress. As we all know stress might lead to a brain fart. And remember if a subject doesn't come, choose the subject Life, and how it could directly affect your character. That subject should get you rolling.
*waves*
fishr
