LESSON #4: INTRO TO SCRIPTWRITING: Creating Characters Who Seem Like Real People

Studying the script in a BYFC class

PRELIMINARIES  

Last week someone who had just bought a new camera called Brooklyn Young Filmmakers and asked when our next Intro To Scriptwriting Class starts.  He told me he had already written several short scripts, and just wanted to get better at it.   I asked him, do you use proper screenplay format?   He didn’t understand.   What was I talking about?   

Many people who want to write screenplays have already looked at published scripts of films that they like (a very good idea).   But even after reading a professional screenplay, they still don’t realize how exact the scriptwriting  format has to be – in terms of font, margin settings, etc.   Nor do they understand how a screenplay is literally formatted as a blueprint.    The various departments that will work together to make the film will all use the shooting script as their starting point for planning.    

You might have a great story, but it’s not a script until it’s in Proper Screenplay Format.  If you don’t have scriptwriting software, you can download it for free at www.celtx.com .  

You must also understand the Rules of Screenwriting (i.e. don’t put what the character is “thinking” in the narration; everything is written in the present tense – even flashbacks, etc.).  Scriptwriting is different than fiction writing and playwriting.   A website that offers a great (free) introduction to the basics of scriptwriting is www.filmscriptwriting.com . 

The two books I recommend that give a comprehensive (easy to read) introduction to the basics of scriptwriting are:   The Screenwriter’s Bible by David Trottier and (more advanced)  Screenplay: Writing the Picture by Robin U. Russin & William Missouri Downs

BROOKLYN YOUNG FILMMAKERS LESSONS

Brooklyn Young Filmmakers lessons are special because we illustrate them using the short scripts we have actually produced as films.     For beginning writers, it makes sense to start by studying a short script rather than a lengthy feature script.  I encourage a more developed writer to also focus first on writing a short script that you can cheaply produce as a film (get someone else to direct if that’s not your thing).  It’s easier to get producers to view a short film than it is to get them to read a feature length – or short – script.

LESSON GUARANTEE:   I challenge you to first review the chapters on character and plot development at www.filmscriptwriting.com, or look up these chapters in any book on scriptwriting.  Then do my lessons (not just read – really apply yourself and do).   Next revisit the scriptwriting website or book.   I guarantee you that your comprehension of that material will increase two-fold!  (And we are not even charging you $10.99, or asking for your credit card and sending you an onion slicer!)

Below is the first of a three-part online lesson that will cover these aspects of scriptwriting:

a.  Creating characters who seem like real people

b.  Giving meaning to your story

c.  Pulling your audience in

FIRST ASSIGNMENT – READ A STUDENT SCRIPT

WARNING:  The student script ONE MORE CHANCE has adult subject matter.  There is swearing, sexual discussions, and interpersonal violence.   The “Young” in Brooklyn Young Filmmakers stands for young to filmmaking –not  young in age.  We deal with adults and older teens primarily, and most of them have already been exposed to swearing, sexual discussions, and  images of violence.   So it makes sense that we choose a script with these topical issues that we can turn into a “Teaching Story” film.         

 The story in the original student version is an entertaining read with an interesting role reversal, and is a promising start by a beginner.   But as often happens with scripts by beginners the controversal subject matter is treated in a melodramatic  manner; the storyline and characters are one note;  and loud language is used as a substitute for other methods of showing emotion and character.    The challenge to us now as a class is how do we keep the interesting original storyline and twist – but make all that secondary to helping the audience  get to know and care about our characters?    The script happens in a limited, contained space, creating cinematic and technical challenges for us (plus there’s a stabbing and blood — special effects make-up!) .  And it is the cheapest to produce of any of the scripts written by our current students.   

ONE MORE CHANCE

I will be using the original student script, ONE MORE CHANCE , by Fayquetta Glenn, to show you the process I teach for developing a character’s back story and personality.     It is actually the second draft Fayquetta wrote of  ONE MORE CHANCE during the five session Intro to Scriptwriting Class.  Please stop and read the script before proceeding on to the lesson.