http://miracleofraredevice.unsquare.com/2007/08/05/writing-a-novel/ Fri, 23 Apr 2010 00:54:20 +0000 hourly 1 http://wordpress.org/?v=3.0.1 http://miracleofraredevice.unsquare.com/2007/08/05/writing-a-novel/comment-page-1/#comment-968 drweezer00 Tue, 07 Aug 2007 05:26:36 +0000 http://miracleofraredevice.unsquare.com/2007/08/05/writing-a-novel/#comment-968 I think this method could definitely work for a screenplay. My first thought was to say that a screenplay's sensory elements come through most in the actual making of the film: ie the shots and the nuances of the actors. But that is not the case at all. If the writer of a screenplay has a clear sense of character yearning, and how that yearning affects the way they experience their world through their sense, then it is bound to come out through the dialogue as well as in the general development of the story. All this boils down to is that great stories are not told from the intellect, they are told from the unconscious. I think this method could definitely work for a screenplay. My first thought was to say that a screenplay’s sensory elements come through most in the actual making of the film: ie the shots and the nuances of the actors. But that is not the case at all. If the writer of a screenplay has a clear sense of character yearning, and how that yearning affects the way they experience their world through their sense, then it is bound to come out through the dialogue as well as in the general development of the story. All this boils down to is that great stories are not told from the intellect, they are told from the unconscious.

]]> http://miracleofraredevice.unsquare.com/2007/08/05/writing-a-novel/comment-page-1/#comment-967 Beau Mon, 06 Aug 2007 22:49:27 +0000 http://miracleofraredevice.unsquare.com/2007/08/05/writing-a-novel/#comment-967 I want to try this for a short story sometime, but in the meantime I wonder how this technique would apply to a screenplay. Most books give you to the opposite approach: write down only the abstractions, the gist of what happens in a scene. At first it seems like a screenplay could only benefit from that approach, given the emphasis on structure. But it would be interesting to explore the characters first before the plot...and it could probably make it a lot easier if you were writing a TV spec script for an existing show. I will try this out. I want to try this for a short story sometime, but in the meantime I wonder how this technique would apply to a screenplay. Most books give you to the opposite approach: write down only the abstractions, the gist of what happens in a scene. At first it seems like a screenplay could only benefit from that approach, given the emphasis on structure. But it would be interesting to explore the characters first before the plot…and it could probably make it a lot easier if you were writing a TV spec script for an existing show. I will try this out.

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