Story Telling Unit-The Art of Screenwriting

The art of Screenwriting is one of great skill. Screenwriting is the art of being able to tell a story, and should usually be based on what we know. To some extent, stories are how we learn. Our existence on this earth is told as a story whether be it a religious belief or scientific. Parables were told by Jesus in order to educate people. I myself as a child used to thrive off stories, usually from books and films. I feel its important in screenwriting, when the idea has been established, to know exactly what it looks like on screen in your head. This helped me personally to write my script because I was able to actually visualise what I wanted to see on screen. However, television is passive in many respects. We can start and stop it at any point. If we leave the room at a fundamental part of the story, the television will continue to tell the story. 

Screenplays are the basis for most dramatic films, the essential work from which all other filmmaking flows. The rollercoaster ride of action, excitement and drama all start at the screenwriters door.

Structure! Screenwriting is all about structure. When I wrote my first draft I thought my structure was okay. I had had a tutorial on using the software Final Draft but soon realised that I want necessarily writing it in the right way. I found myself writing in too much detail, which was unnecessary. After speaking to Simon, I soon realised I needed to simply write whats on the screen in front of me; what I want the audience to see, not every piece of detail explaining why I want them to see it. This was insightful, and something I feel to be fundamental in the art of screenwriting. 

When researching the art of screenwriting I came across several books on the subject. Most of their opinions varied but I was particularly interested in Robert McKee (Story Substance, structure, style and the principles of screenwriting). He believes that screenwriting all begins with talent.

“Must be born with the creative power to put things together in a way no one has ever dreamed”. I would agree to this to some extent, it does have to come naturally, and there are some things that can't be taught. However, I believe most people are able to at least try, and we can learn techniques that will help taller a script and hopefully produce a successful one. 

In contrast John Truby writes in John Truby presents the anatomy of story advice to aspiring screenwriters. He seems to express the importance of characterisation, mainly the typical hero/villain archetypes. "Begin by writing down what you think the essential moral problem of your story. Compare your hero and all other characters on these parameters :

• Weakness
• Desire 
• Values
• Power, status, and ability
• How each faces the central moral problem in the story. 

Each character should show a different approach to the heroes central, moral problem." This is basically suggesting that the different characters will rect differently to the central moral problem. The characters may also learn from each others probWile one character may react dramatically, the other could be easy-going. As a source of information Truby is reliable, and speaks with experience. He is a screenwriter, director and screenwriting teacher. He has served as a consultant on over 1,000 film scripts in his time, so knows what he's talking about.
I wanted to lean more about these hero/villain archetypes and tried to find some examples of where they are used. For example, in Pride and Prejudice, Elizabeth Bennett is a sophisticated girl who is too proud of her own intelligence and judgemental. Her opponent is Mr Darcy, who is extremely proud, and looks down on the lower class. However, because of Darcy's pride and prejudice, his efforts to overcome them for her, that Elizabeth realises how she herself is guilty of pride and prejudice. The characters ere create the story, and Elizabeth ends up reflecting on her own disillusions.

I feel a main rule is to write about you own experiences; that way you naturally have a better knowledge on what you’e writing about. It really makes sense, because secondary research isn't good for everything. Some of the best stories around come from writers talking about their own experiences. John Sullivan, writer of Only Fools and Horses was a warm hearted family man, ad with this he wrote a warm hearted, family sitcom. Sullivan grew up in a working class environment, so knew himself, the daily struggles people like Del Boy would go through. In my opinion, writing based on the things you know allows room for detail. Some of the best television series and films are so successful because they have detail, making the story seem all the more realistic. For example, when writing my own script I made the point of food having food packaging with faces on them; I know that people who suffer from dementia often talk to faces they see, even if they aren't real. Even when it came down to costume, detail was important. I made the point of writing in my script the clothing I would like William to ware (Smart  shirt and jogging bottoms) because the shirt resembles the smart, stable man he once was, and the joggers contrast to show the change; the clothing is confusing, like Williams state of mind. 

Many screenwriters will say to think of the character before the plot, but my research suggests otherwise. I agree that its important to know your characters well, and to be able to know exactly how they would react when thrown into any given situation. However, I feel if you have something to write about that you are passionate about, and the idea of a plot has been inspired by something you have seen, then its acceptable to write a script based on that event. If your not passionate, then then there will be no enjoyment when writing it which is reflective in the outcome. I realise that this isn't always the best way to work, and can vary for different people. I was inspired by The Beatles song ‘Elinor Rigby’ for my character. I found the character Father Mackenzie inspiring to my own. This developed into they idea of this lonely old man, who watches the world change. I knew I wanted to write about dementia, but wasn't sure how to fit it in, and this song inspired an idea of how I could fit it in. 

I think in most instances its important not to over complicate a screenplay. If its too complicated, not only to you risk losing your audiences attention, but also make it more difficult yourself, Because some of the best stories in screenwriting, are often made from commonplace, its easier to know the characters little pet peeves or how they cook, clean or eat. Without this detail a dynamic, script will never take shape. In many mays, the characters in a screenplay carry the piece; we as they audience empathise with the characters, and experience their journey with them. The characters should tell the writer what to do, not the writer to tell the characters what to do. I order to trigger empathy you must also create interesting characters that the audience can relate to and care about. 

When I had my first script feedback from Steve Coombs he said I placed a lot of trust in camera work. This was great because I wanted to tell the story using images. I realised that the art of screenwriting is to tell a story not just thorough dialogue, but images and music. I went on to ding some research and found when writing a screenplay, it is important to visualise the on screen action in your head. As much as I wok try to explain my plot, it didn't do it any justice compared to what I could actually visualise. Many screenwriters may storyboard ideas to help get other people to visualise their idea, or even to help themselves visualise it. Storyboarding isn't just used for editing and filming; it has many uses. 

The art of screenwriting doesn't just come from ideas and structure. Its also just as important to be able to face rejection. A willingness to accept criticism and rejection, and taking it on board is a skill in itself. Its easy to get bogged down with failure, and at some point we all feel demotivated when an idea we love and cherish gets ripped apart. Those who continue to improve their work despite setbacks, are the ones that are successful. In a sense, writing is re-writing.