pirmdiena, 2014. gada 10. novembris

KĀ KĻŪT PAR BEBRU, KAS ,,PĀRKOŽ" SCENĀRIJU

Atradu labu pamācībrakstu un sakāroju to ielikt ,,piezīmju blociņā", lai nenomaldās.

http://dream2screen.blogspot.com/2012/12/seven-signposts-for-successful.html

Tepat plauktiņā nolikšu dāņu seminārā sasmeltās gudrības. ( precīzāk - Nīlsa sasmeltās un mums ar karoti iekšā barotās).


The fundamental dramatic tension is
SOMEBODY WANTS SOMETHING BADLY AND IS HAVING DIFFICULTY GETTING IT
A dramatic action appear when a change creates a conflict. Without the conflict, there’s no drama.
Main tension. What is the main tension, that the audience feels through the story? You can state it as a question.
A distinction are made between external/internal conflict.

Conflict
Hope vs. Fear? What does the audience hope for ? Which way do they want the character to go? What does the audience fear? What ́s the wrong, frightening turn the story could realistically take? Both outcomes must be possible in order to create a strong main tension.
What’s at stake/risk? If the story goes this way or that (audience ́s hope vs. fear) what is the ”price” that the character must pay? If there are no consequences to the characters actions (in emotional terms, financial terms, etc.) then why should we care which path the character takes?
Theme? In a word. Distilled down to the simplest possible statement,what is the story about? Trust, greed,responsibility, selfacceptance, power, generosity and so on. No matter how convuluted and sophisticated your story, there should be one central element, some focal point which all the story machinations revolve around. How is the theme ( or a variation of it) reflected in the main character ́s story?
Character
Whose story is it? With whom do we really identify? Whose phlight or problem do we worry about? They don ́t have to be a ”good guy” but we should have some sympathy for this character. Sympathy comes from creating an interesting character for whom we have some empathy. Is this person compelling? How so?
What he/she want? What does the character wants? Not last week or next year but now within the confines of the story. What is the objective or ”goal” the character pursues during the story? This ”want” usually leads us to a particular question or ”main tension” which will shape the charachter ́s pursuit ( and audience ́s experience).
What he/she needs? What does the character need in the world of the story ? It can be identical to what he / she wants, but the need more often is quite different from what the want. A story in which a character sacrifices his ”need” for what he wants, or fails to recognize his need in time, is usually a tragedy.
Character
Life dream? If this character had a magic want and could change the world to his or her favour, what would that ideal world be? What does he envision life to be like for himself? This dream may not be explicitly presented in the story, but knowing it can give the writer (and audience) a ”window” into the soul of the character.
Life at odds with life dream? How is the world in which the story takes place making it difficult for the character to reach his ideal? If it ́s easy for the charachter, then where ́s the conflict? An easily achieved life dream doesn ́t leave room for much of a story. The ”world” of the story is a subjective and particular milieu unique to each film, the rules of which are established for the audience early in the script.
Character questions
1. Who is your main character ? / sympathy
2. Why should we be interested in him ?
3. What attracts you to him ?
4. How dou you make us empathize with him ?
5. Why do you believe we will find him sympathetic? What is the reason exactly?
6. What makes us curious about him ? What ́s his mystery? What ́s his ”magic”, his charisma? How does it show ?
Some demands to character
         •  0-100 % - from low to high
         •  Consistence but unpredicable and assure audience fascination.
         •  Believability with a chance to make its goal
         •  Identification
         •  Dilemma between want and need
         •  Backstory that motivates important parts of the character’s actions.
         •  Ressourceful.
         •  A complex conflict.
         •  Both internal, personal or social conflicts.


Further dimensions to character and story
Family background Social background Emotional background Physical appearence Social status Emotional status
Finally ... Do you like him ? Hate him? Why do you need to write about him ? Why should people be excited about him ?

Construction
If the character Protagonist and her objective constitute the first two important elements in the construction of a story, the various obstacles collectively constitute the third.
There may be but one obstacle, and it may be simple and easily identified. On the other hand, there may be more than one.
A distinction must also be made between conflicts and hassles. ”A flat tire” is an obstacle if it’s truly an inconvenience to a preestablished want.

Construction as both structure and plot
Archplot is classical design which structures a story built around an active protagonist who struggles against primarily external forces of antagonism to pursue his or her desire, through continuous time, within a consistent and causally connected fictional reality, to a closed ending of absolute, irreversible change.
ARCHPLOT: Causality, Closed Ending, Linear Time, External Conflict, Single, Active Protagonist, Consistent Reality He dismisses everything else as minimalism or anti-structure.
MINIPLOT: Open Ending, Internal Conflict, Multiple, Passive Protagonists
ANTIPLOT: Coincidence, Nonlinear Time, Inconsistent Realities

Construction through interviews
1)  Ask open questions.
2)  Keep an open mind to the persons telling.
3)  Topic (loneliness, religion), is a door opener.
4)  Do not insist on your topic, if the person has other stories to tell.
5)  Dangerous, insulting topics need a ”key” which are connected to the topic.
6)  Accept lies and be true to her truth, otherwise trash interview.
7)  Listen!
8)  Do not interrupt.
9)  Don’t please. Beware that the person is glad to tell her story.
10)  Don’t be afraid when things gets emotional.
11)  Inform about the context where interview is used. You can admit that you don’t know how it will end up.
12)  Offer the person to keep her name out of the publication.
13)  Set a deadline. Tell how long the interview will take, fx one and a half hour.
14)  Pick a place for the interview not too public, preferable in private.
15)  Record the interview and don’t spend time taking notes.
16)  Note visual impression.

Construction
Show, don’t tell. Documentary is telling, of presenting the facts, but fiction creates the illusion of being there in the story, seeing events happen without the writer telling you.
Go right to the story without establishing it.
Use Point of View (POV). 1. First person - The POV character tells the story as "I." Strong identification with POV character. Listeners discover story events as character does.
Try to hit the way the person speaks and his characteristics. Use all the senses.
Use specific, picture nouns and action verbs. Use specific, concrete nouns instead of vague ones like happiness, kindness, arrogance, and courage. Instead describe how characters being happy, kind, arrogant, and courageous. Also use the most vivid, active verbs, and avoid the passive or linking verbs.
Write in scenes. For any length, scenes are the building blocks of the story.
Construction depends on the person and audience
A good story is not simply the pursuit by a protagonist of a solution to his or her predicament. A good story is not constructed or created for the conflict or characters.
... A story is created for the audience.



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