Weird. For about a month and a half I could not add a new blog post to this, my original blog. Now that I can, I am faced with the question: do I remove Poetry in Motion Pictures, Take Two, or do I finally launch my "How to Write Screenplays" blog at my Take Two site, and reserve this blog for posts of a more varied nature?

And in asking the question, I've answered it.

So as of this moment, right now, (and hoping, trusting that I can continue to post new blogs on this original site) I officially announce to all two of my readers that Poetry in Motion Pictures [the original] is my personal blog site, while Poetry in Motion Pictures, Take Two, shall be my "How to Write Screenplays" site.

And while you may be asking yourself why you're still reading this rather redundant post, you can thank the ever-changing role of the internet in my life (in all our lives, perhaps) and a small book by David Meerman Scott that I use in teaching my Media Writing classes at the University of New Hampshire: The New Rules of Marketing & PR. If you haven't read it yet, do yourself a favor and read it. Soon.

Write a Short Screenplay in 2010
Lesson Three:
Tag!  Your Character is it.

What's a tag?  It's the description of the character the first time he appears in a screenplay.  It's the one time in screenwriting that the writer is permitted to write details that will only be read by the actors and director.  Though if you've crafted your story correctly, the viewing audience will pick up on the characteristics that you outline in your tag.

What makes a good tag?  It's the spot-on definition of character traits.  Spoiled. Arrogant. Pissed at the world. Always in a hurry. Too good for mankind.  Everyone's friend.  Mild-mannered.  A doormat.

And what of looks?  Only tell us physical details if they are pertinent to what makes the character who she is.  For example, you might write: BRENDA DILLON (13), the tallest girl in the school and painfully aware of that fact.  She's also the best Center in the state of Nebraska, but that's hardly just compensation for the pain of always being the wallflower at junior high dances.

You wouldn't want to describe Brenda as six foot tall.  Why not?  What if the best actor for the part was five foot seven?  You don't want to force your casting director to choose a runner-up simply because the actor fits the height requirement.  This way you allow your casting director and production team to work together to make sure the supporting actors are shorter.  Remember: filmmaking is a collaborative process.

The best way to get a good feel for how to write tags is to read them in screenplays.  If they gave an award for best tag ever written, I'd argue loudly that it be granted to Mark Andrus, screenwriter of AS GOOD AS IT GETS, for his description of Melvin Udell (played by Jack Nicholson).  Melvin is described as:

"...well past 50, unliked, unloved, and unsettling.  A huge pain in the ass to everyone's he's ever met."

Now that's a tag an actor can sink his teeth into.  See the movie if you haven't already; you'll witness how the screenwriter, director, and actor brought Melvin to life exactly as the character was tagged.

An optional exercise today: use the photos to describe what kind of character is behind them.  I'll post my own ideas in a day or two.

Cheers!

107 stories to be told...

...and my intro scriptwriting class began by telling twenty.

Today was day two of intro scriptwriting.  We each took a turn telling a tale from our past--all of which left us laughing WITH each other, not at.  Really.  While we learned a bit about each other, we also saw how the simplest idea can lead to a short screenplay, a short story, a play, a poem, an essay, a blog....

One script that we read began with a simple "What if?" twist.  What if my father had taken that job offer with the mob boss in Cleveland upon graduating college?  What would the responsibility of such a commitment do to an honest man?  (For those of you who don't know the laws of the Mafia--had my father taken the job with the mob, since he was not already a member of the family he would have had to kill someone to both prove his loyalty and so the mob would always have control over him.  He couldn't, but when I explore what conditions could make an otherwise honest man agree to such conditions--whala!  A story is born.)

We also read a short excerpt from my PLAYING HOUSE script, a story based on my husband who actually tried to save a woman and her toddler...who wasn't a toddler at all, but was a DOLL.  He was nearly run over by a car for his good deed.  While his story shocked and scared me, it also yielded a poem by me, which I later turned into a dialogueless short screenplay.

So what is your story?  Don't worry about whether or not it might make a great short script, with or without that "What if?" twist--simply entertain us.

Next week: the technical parts of a screenplay--a primer in how to draft the blueprint of a film.

Cheers!