Richard Spaulding
02-17-2004, 05:29 PM
In my humble opinion, there is an absence of subtext and underlying drama in current films, and in many of the screenplays I've been reading. It seems that films become more shallow with each passing year. Plot structure, format, and entertainment value are important, but they're not everything. To correct this, I offer the following suggestions to screenwriters and playwrights:
1) Study acting. Not to become actors, but to learn what the acting process is, how characters are motivated and how stories are told. Acting is an emotional process. It comes out of the central nervous system. Acting zeroes in on the gist of a story like a heat-sinking missile. It is the business of actors to interpret writing. Reading books about acting is okay, but it's not good enough. You need to interact with living actors who speak dialog, express feelings, and who discern meaning. I never met a writer who did not enjoy working with actors. Even if it's only one workshop, or two workshops, or an entire semester, your writing will benefit a hundred times over by learning the actor's process. It will change forever how you write. The author who does not study acting is HANDICAPPED at the start.
2) When you have a first draft, hold a round-table discussion with a group of experienced, professional actors. You're mom and dad aren't qualified. Supply refreshments, notepads and pens. Give each actor a hardcopy of the script, and read it all the way through. Appoint someone to read the loglines and description -- not the author, who should be busy listening. Allow for pauses while actors make notes.
After the reading, go back over the first act, then ask each actor in turn for their scene analysis. That's SCENE ANALYSIS. By this time they'll be straining at the bit to tell you what they think. Welcome the discussion that follows. Encourage each actor to have his or her say. Follow this procedure for the first half of the second act, the second half of the second act, and the third act. Listen to the actors. They offer insights that a writer needs to hear. Take copious notes, writing directly on your hardcopy of the script.
Remember, you will fail to comprehend an actor's contribution if you don't speak the same language. Study acting before you hold a script reading. The actors you meet will probably be glad to read for you. Scene analysis sharpens an actor's skills, and they enjoy doing it.
3) Now go home and write the next draft, implementing all the useful suggestions you've been given. You may not be able to use all of it, you may disagree with some of it, but make no mistake, you'll have a substantial body of constructive criticism to work with. By the time you complete a second draft, you may be surprised at how far you've come from the first draft. Now it's time to hold another round-table discussion with a different group of experienced, professional actors. Repeat the process.
Actors are usually hard on themselves and on the writing, but not unreasonably. Don't let your feelings be hurt, they do this to each other all the time. As the author, you are not expected to defend or apologize for what you've written. Take it in stride. Remember to thank the actors for their generosity. What they know and contribute was earned the hard way.
4) Write good roles for actors and actresses. Most actors I know are screaming for good writing. They want characters who challenge them and give them something to do. Want to get an agent? Want to get a name attached to your script? Want to be produced? Write good roles for actors and actresses.
5) Don't depend entirely on the internet for feedback. I suggest you hold script reads with actors before posting sides for other writers to read. Make sure you implement changes from both actors and fellow writers before you submit your script to producers and agents.
You will find that not only has your grasp of drama grown, your writing improved, and your self-confidence boosted, but so has your reputation as a professional. Producers and agents will be more receptive to your work. Directors will start taking you seriously. Celebrity actors will recognize your name as the writer whose work they should consider reading. Nothing impresses a star more than a writer who knows how to deliver a character that will advance their careers.
Richard
1) Study acting. Not to become actors, but to learn what the acting process is, how characters are motivated and how stories are told. Acting is an emotional process. It comes out of the central nervous system. Acting zeroes in on the gist of a story like a heat-sinking missile. It is the business of actors to interpret writing. Reading books about acting is okay, but it's not good enough. You need to interact with living actors who speak dialog, express feelings, and who discern meaning. I never met a writer who did not enjoy working with actors. Even if it's only one workshop, or two workshops, or an entire semester, your writing will benefit a hundred times over by learning the actor's process. It will change forever how you write. The author who does not study acting is HANDICAPPED at the start.
2) When you have a first draft, hold a round-table discussion with a group of experienced, professional actors. You're mom and dad aren't qualified. Supply refreshments, notepads and pens. Give each actor a hardcopy of the script, and read it all the way through. Appoint someone to read the loglines and description -- not the author, who should be busy listening. Allow for pauses while actors make notes.
After the reading, go back over the first act, then ask each actor in turn for their scene analysis. That's SCENE ANALYSIS. By this time they'll be straining at the bit to tell you what they think. Welcome the discussion that follows. Encourage each actor to have his or her say. Follow this procedure for the first half of the second act, the second half of the second act, and the third act. Listen to the actors. They offer insights that a writer needs to hear. Take copious notes, writing directly on your hardcopy of the script.
Remember, you will fail to comprehend an actor's contribution if you don't speak the same language. Study acting before you hold a script reading. The actors you meet will probably be glad to read for you. Scene analysis sharpens an actor's skills, and they enjoy doing it.
3) Now go home and write the next draft, implementing all the useful suggestions you've been given. You may not be able to use all of it, you may disagree with some of it, but make no mistake, you'll have a substantial body of constructive criticism to work with. By the time you complete a second draft, you may be surprised at how far you've come from the first draft. Now it's time to hold another round-table discussion with a different group of experienced, professional actors. Repeat the process.
Actors are usually hard on themselves and on the writing, but not unreasonably. Don't let your feelings be hurt, they do this to each other all the time. As the author, you are not expected to defend or apologize for what you've written. Take it in stride. Remember to thank the actors for their generosity. What they know and contribute was earned the hard way.
4) Write good roles for actors and actresses. Most actors I know are screaming for good writing. They want characters who challenge them and give them something to do. Want to get an agent? Want to get a name attached to your script? Want to be produced? Write good roles for actors and actresses.
5) Don't depend entirely on the internet for feedback. I suggest you hold script reads with actors before posting sides for other writers to read. Make sure you implement changes from both actors and fellow writers before you submit your script to producers and agents.
You will find that not only has your grasp of drama grown, your writing improved, and your self-confidence boosted, but so has your reputation as a professional. Producers and agents will be more receptive to your work. Directors will start taking you seriously. Celebrity actors will recognize your name as the writer whose work they should consider reading. Nothing impresses a star more than a writer who knows how to deliver a character that will advance their careers.
Richard