On general writing --

I begin to think that the writing itself -- words -- are the actual media reaching into a reader's brain.

So, I'd keep the wording as smooth as possible. I'd avoid gimmick built on words [opulent/effect architecture based on geographical disposition of words], and I'd try to build along a higher "line" of communication with the reader, i.e. work on the message being delivered within the scene progression.

It would be the "two cent" idea being decently executed.

I'm sorry if this is obscure. It's not much clear to me myself how that could be achieved.

What I begin to realize is that one should provide the hypothetical reader with a very simple/smooth stream of input -- the infamous easy read, the much coveted "page turner" script -- while the concept is what is being delivered on another level of communication, an alternate stream of "consciousness /unconsciousness."

I just read "Karma Coalition", from ScriptShadow's blog, and this is it:

The wording is quite simple, the story has logic holes aplenty IMHO, still, after reading the last one page I can't help but feel a "void", an "emptiness" inside me, due to two factors, mainly -- I assume.

*** SPOILERS ****

A) The main character is being held into a cryogenic suspension -- an apparent death to anyone, a "non life".

B) The character now dreams of a decent life he could have not had if he wasn't in his "frozen" condition.

This particular mixture of freedom within bounds is kind of destroying the logical me --

Because it works in the script: "All you need can be fulfilled within a dream" is the message my brains keeps sending to all the subordinate cells of mine.

And I cannot but bow before such accomplished writers that allowed this communion within me myself.

Vale.


M.

M, if you haven't read it already, you might find some value in an article I wrote for ScreenTalk magazine about "narrative voice." You can access it here. It deals with a key aspect of what you highlighted in your post.

Thanks for answering my question. I JUST wrote a spec. and turned in direction lines which implored that technique. The BEST book I have on in script direction is "The Hollywood Standard" by Chistopher Rilley. I also have David Trottier's "The Screenwriter's Bible" but Chistopher's book is the first place I look if I have a formating quiestion.

Anyway, thanks Scott

- E.C. Henry from Bonney Lake, WA

Great article.

I never fully realized that the tone of the writing and the pace of a script should somehow reflect the genre one is writing.

It seems obvious now. Many scripts that come to my mind "behave" like that.

Thanks for the link.

Where are the other pages? I mean, article is pages 16-17-18 of something bigger. Does this belong to a book? Is Screentalk.biz down now? Is this published?

M.

M, unfortunately ScreenTalk did go out of business a few years back.