PimpMyWrite Writing Tool Prototype. So what is the hell this is all about hey I ask you? !!? The aim of this learning object is to provide a tool to help.

PimpMyWrite

Writing Tool Prototype

So what is the hell this is all about hey I ask you? !!?

The aim of this learning object is to provide a tool to help those who consider themselves new to writing for the screen to work in perhaps a more structured way than they may have done previously.

It aims to help the user gain or maintain confidence in their process.

It asks the user to complete tasks with the idea that later reflection on the experience gained through attempting the tasks will result in an engaging learning process.

This tool is not something that can be whizzed through.This tool is INCOMPLETE. It is envisaged that a more thorough structured tool will be released for testing. This prototype is more of a ‘proof of concept’ than a fully functioning, fully-realised working model. Please bear that in mind when providing your feedback. The evaluation has been structured to reflect the limitations in this current release.

Please note simultaneous Internet access is required to get the most out of this tool.

Thank you

Ideas are Bubbles• No really. Hold with me for this metaphor• A bubble is an engineered entity. Buy some bubbles. Go to a kiddies

toy shop. I think legally they ALL have to sell bubbles. Next to the till normally.

• Look at ingredients. See how manufactured they are? See how far they have flown these bubbles? A bubble is a commercial entity, yet…

• Put some energy in and we potentially get beauty out.• Others can share the beauty from your energy, the energy our

muscle sugar produced• Not all our energy results in lovely, large, luminous bubbles, some

of them pop right in our eyes. Should we love them less? No !!• This is the script I’m saying alright? Please let me stop belabouring

the point. Accept that all our ideas won’t float gracefully, sometimes the variable just don’t add up.

• No really. Hold with me for this metaphor• A bubble is an engineered entity. Buy some bubbles. Go to a kiddies

toy shop. I think legally they ALL have to sell bubbles. Next to the till normally.

• Look at ingredients. See how manufactured they are? See how far they have flown these bubbles? A bubble is a commercial entity, yet…

• Put some energy in and we potentially get beauty out.• Others can share the beauty from your energy, the energy our

muscle sugar produced• Not all our energy results in lovely, large, luminous bubbles, some

of them pop right in our eyes. Should we love them less? No !!• This is the script I’m saying alright? Please let me stop belabouring

the point. Accept that all our ideas won’t float gracefully, sometimes the variable just don’t add up.

contents• 1.0 Getting started

Script FormatScript Sources Generating ideasTask 1

• 2.0 End of the beginning Character or Plot?Script Mechanics: Structure and other animalsShow not tell

• 3.0 What Next?What The Hell Do They Know? : FeedbackWriting is Re-writing: What and how?

• Glossary

Section 1. Getting started

• Script Format• Script Sources • Scoping the process• Free stuff• Writing Task 1

• Script Format• Script Sources • Scoping the process• Free stuff• Writing Task 1

So how to get started• Advice is usually to make notes, read, observe (Film, TV and

real live people in real life).• I like this idea as it is similar to my process.

Writer is August Wilson (Fences, Ma Rainey’s Black Bottom, etc)

• Get a bit of paper and make a note of anything that he talks about that chimes with you. If nothing does chime then can you make a note of your process?? It might be different each time or you might start lots of things but not finish. Whatever your process is, try and get it on paper/screen in front of you. We’re going to come back to this exercise later on, fairly soon actually so electronic version is good.

• Advice is usually to make notes, read, observe (Film, TV and real live people in real life).

• I like this idea as it is similar to my process.Writer is August Wilson (Fences, Ma Rainey’s Black Bottom, etc)

• Get a bit of paper and make a note of anything that he talks about that chimes with you. If nothing does chime then can you make a note of your process?? It might be different each time or you might start lots of things but not finish. Whatever your process is, try and get it on paper/screen in front of you. We’re going to come back to this exercise later on, fairly soon actually so electronic version is good.

Places to get Scripts • UK Film Council host this link here to faq about scripts in

general. (I think the point they make about reading lots of scripts is a good one)

• These two sites are good places to download scripts for free scriptorama, and internet movie script database (scriptorama offers pdf as well as HTML formats)

• Hover over the link to get the url so you know where’s you’re going and then grab url from the site when you get there. Bookmark them, bookmark them!!

• One of the things to be aware of is that these are shooting scripts mostly and so the format differs slightly to scripts as written. For instances Scenes written but not shot will be referred to as omitted in these screenplays.

• UK Film Council host this link here to faq about scripts in general. (I think the point they make about reading lots of scripts is a good one)

• These two sites are good places to download scripts for free scriptorama, and internet movie script database (scriptorama offers pdf as well as HTML formats)

• Hover over the link to get the url so you know where’s you’re going and then grab url from the site when you get there. Bookmark them, bookmark them!!

• One of the things to be aware of is that these are shooting scripts mostly and so the format differs slightly to scripts as written. For instances Scenes written but not shot will be referred to as omitted in these screenplays.

Free Stuff• After taking a look at some scripts hopefully you’re getting

an idea of script layout and formatting. So go here and download this free open source software resource. It’s called celtx. The script formatting element is good. This is very good production software overall for the Writer/Director/Producers amongst you as the scheduling software is good also.

• So you’ve read this stuff, got the software, downloaded the scripts for the films you missed and you’ve got the films you saw and now want to see how the film differed from the script, now what do you do? I hope your speakers’ are working. Check out these videos of writers talking. It’s more exciting than it sounds I promise you. Check out the next slide.

• After taking a look at some scripts hopefully you’re getting an idea of script layout and formatting. So go here and download this free open source software resource. It’s called celtx. The script formatting element is good. This is very good production software overall for the Writer/Director/Producers amongst you as the scheduling software is good also.

• So you’ve read this stuff, got the software, downloaded the scripts for the films you missed and you’ve got the films you saw and now want to see how the film differed from the script, now what do you do? I hope your speakers’ are working. Check out these videos of writers talking. It’s more exciting than it sounds I promise you. Check out the next slide.

What the hell do they know? Scoping the process

• Paul HaggisWriter: Million Dollar Baby. Writer/Director: Crash, In The Valley of Elah

• David GoyerWriter: Blade Series

• Callie KhouriWriter:Thelma & Louise

• Scott RosenbergWriter: Things to do in Denver When You’re Dead, High Fidelity, Con Air, Beautiful Girls

• Billy RayWriter: Flight Plan, Hart’s WarSo when you listen to the Billy Ray interview ask yourself:

• Am I reading enough scripts? Man I should get to imsdb and get some more. It’s been a while.

• Who is my group to read my work? • See the graphic that appears outlining industry terms and specific knowledge. It’s exposition. Check

out the glossary• These are from YouTube Channel called The Dialogue.

• Paul HaggisWriter: Million Dollar Baby. Writer/Director: Crash, In The Valley of Elah

• David GoyerWriter: Blade Series

• Callie KhouriWriter:Thelma & Louise

• Scott RosenbergWriter: Things to do in Denver When You’re Dead, High Fidelity, Con Air, Beautiful Girls

• Billy RayWriter: Flight Plan, Hart’s WarSo when you listen to the Billy Ray interview ask yourself:

• Am I reading enough scripts? Man I should get to imsdb and get some more. It’s been a while.

• Who is my group to read my work? • See the graphic that appears outlining industry terms and specific knowledge. It’s exposition. Check

out the glossary• These are from YouTube Channel called The Dialogue.

Have a go at this why don’t you?• Try writing a scene in an industry-formatted fashion. Don’t worry

about the idea yet, simply set the scene in the place you are now. • Describe the room and recall a conversation you had earlier today.

Place that dialogue into the relevant character’s mouth. For the sake of this exercise place all characters into your current location. Don’t worry about being too accurate with any dialogue it isn’t a memory test. The idea is to get a scene that looks like a scene and to use the free celtx software you’ve downloaded by now hopefully. Save the scen, as ‘room exercise.’

• Use celtx that you should have downloaded by now and make sure you save this scene as we’ll be returning to it later on.

• Last note although it’s good to try and use any techniques you may have heard described in the dialogue series don’t worry unduly about doing so yet. This is more about getting use to the formatting and producing some material to later work with.

• Try writing a scene in an industry-formatted fashion. Don’t worry about the idea yet, simply set the scene in the place you are now.

• Describe the room and recall a conversation you had earlier today. Place that dialogue into the relevant character’s mouth. For the sake of this exercise place all characters into your current location. Don’t worry about being too accurate with any dialogue it isn’t a memory test. The idea is to get a scene that looks like a scene and to use the free celtx software you’ve downloaded by now hopefully. Save the scen, as ‘room exercise.’

• Use celtx that you should have downloaded by now and make sure you save this scene as we’ll be returning to it later on.

• Last note although it’s good to try and use any techniques you may have heard described in the dialogue series don’t worry unduly about doing so yet. This is more about getting use to the formatting and producing some material to later work with.

Idea Generator… Generate me an idea this instant!

• You’ve no doubt noticed that the celtx’s software has an idea generation feature, if not check it out.

• Look at this site also for a laugh.

• You’ve no doubt noticed that the celtx’s software has an idea generation feature, if not check it out.

• Look at this site also for a laugh.

Section 2. End of the beginning

• Character and Plot• Script Mechanics: Structure and other animals• Show not tell

• Character and Plot• Script Mechanics: Structure and other animals• Show not tell

Character Development process• Get out your ‘room exercise scene and read it. Now try

this. ‘Hot-seating’ the characters.• Decide 30 things you know about the character.

Age, class, financial situation, marital status, moral position on abortion, stem cell research, George Bush, etc, etc are my gift to start you off. Hopefully as this ‘room exercise’ was based on a real conversation some of this you may be able to answer some questions easily. The exercise hopes that you will have to invent some questions and answers. By the end of this you will hopefully know a lot about your character.

• Get out your ‘room exercise scene and read it. Now try this. ‘Hot-seating’ the characters.

• Decide 30 things you know about the character. Age, class, financial situation, marital status, moral position on abortion, stem cell research, George Bush, etc, etc are my gift to start you off. Hopefully as this ‘room exercise’ was based on a real conversation some of this you may be able to answer some questions easily. The exercise hopes that you will have to invent some questions and answers. By the end of this you will hopefully know a lot about your character.

Plot Development process

• Go online or pick up your newspaper• Choose without a great deal of thought or

premeditation a news story at random. Now place your ‘hot-seated’ character inside that story. How might that have changed the story as written in the article?

• Go online or pick up your newspaper• Choose without a great deal of thought or

premeditation a news story at random. Now place your ‘hot-seated’ character inside that story. How might that have changed the story as written in the article?

Structure is like SM underpants

Personal anecdote. I find the structuring process to be like putting on those pair of tight, high-cut, much much too tight, leather brief style underpants we all have at the bottom/back of the wardrobe. You know those ones for ‘sexy’ time? The ones with lots of tiny spikes on the inside? Me thinking about structure is not something I particularly enjoy and can actually be quite painful but I also know it’s good for me

Personal anecdote. I find the structuring process to be like putting on those pair of tight, high-cut, much much too tight, leather brief style underpants we all have at the bottom/back of the wardrobe. You know those ones for ‘sexy’ time? The ones with lots of tiny spikes on the inside? Me thinking about structure is not something I particularly enjoy and can actually be quite painful but I also know it’s good for me

Structure TipsA. Work out what your character wants and what stops him/her from getting it.

Emotionally might be more interesting than physical obstaclesB. Work out what your character thinks they want. This is quite often useful if it is

not the same as A.C. The Premise forces your character to achieve A despite B. Upon completion they

have completed what is commonly described as their character arc.D. IMPORTANT NOTE WHEN I SAY WORK OUT I REALLY MEAN DECIDE!!E. Other characters are also undergoing their emotional journeys. This complexity

is useful.F. Watch films, films, films. Read books, stageplays, screenplays. Watch theatre

Some tips of what my character wants follow overleaf. Also check out work by script guru’s Ken Dancyger, David Freeman, Sid Field, Linda Seger, Jurgen Wolf, Robert McKee to see what they have to say about plot versus character.

A. Work out what your character wants and what stops him/her from getting it. Emotionally might be more interesting than physical obstacles

B. Work out what your character thinks they want. This is quite often useful if it is not the same as A.

C. The Premise forces your character to achieve A despite B. Upon completion they have completed what is commonly described as their character arc.

D. IMPORTANT NOTE WHEN I SAY WORK OUT I REALLY MEAN DECIDE!!E. Other characters are also undergoing their emotional journeys. This complexity

is useful.F. Watch films, films, films. Read books, stageplays, screenplays. Watch theatre

Some tips of what my character wants follow overleaf. Also check out work by script guru’s Ken Dancyger, David Freeman, Sid Field, Linda Seger, Jurgen Wolf, Robert McKee to see what they have to say about plot versus character.

Possible Arc Journeys

• I can achieve despite my past• I can be vulnerable in love• I can value others and make that emotional

connection and it may cost • I will begin to learn that all things must die, I

cannot control all and everything without paying costs I cannot afford to bear

• I can learn to forgive• I have become all the things I used to despise

• I can achieve despite my past• I can be vulnerable in love• I can value others and make that emotional

connection and it may cost • I will begin to learn that all things must die, I

cannot control all and everything without paying costs I cannot afford to bear

• I can learn to forgive• I have become all the things I used to despise

Possible arc achievement obstacles

• Pride• Behaviour (drink, drugs, disorder)• Fear• Insecurity• Arrogance• Identity

• Pride• Behaviour (drink, drugs, disorder)• Fear• Insecurity• Arrogance• Identity

Arc task

So guess what your source material for this task is?• Apply one of the prior arcs to your character in your

‘room exercise’ premise? • What happens when you try and rewrite the dialogue

now? It is important you have the arc desire and the obstacle in mind when you approach the scene rewrite.

• Don’t feel that you have to have great fidelity with the original scene but it might be useful if you do try and maintain the style and scope as this then also becomes an exercise in subtext. Check out glossary for subtext description

So guess what your source material for this task is?• Apply one of the prior arcs to your character in your

‘room exercise’ premise? • What happens when you try and rewrite the dialogue

now? It is important you have the arc desire and the obstacle in mind when you approach the scene rewrite.

• Don’t feel that you have to have great fidelity with the original scene but it might be useful if you do try and maintain the style and scope as this then also becomes an exercise in subtext. Check out glossary for subtext description

Classical narrative structure

• Exposition- We meet the characters and understand something about them

• Inciting event- After this point the character can no longer ‘go back’

• Climax- The event reaches it natural conclusion. The beast is slain. The character arc is completed

• Resolution- Secondary events are tied up. This could be for secondary characters or something that illuminates the arc completion for our major characters

• Exposition- We meet the characters and understand something about them

• Inciting event- After this point the character can no longer ‘go back’

• Climax- The event reaches it natural conclusion. The beast is slain. The character arc is completed

• Resolution- Secondary events are tied up. This could be for secondary characters or something that illuminates the arc completion for our major characters

Show not tell

Real simple quick one here.• Characters are what they do. What they do is

not always what they say• What they say and the way in which they say

it is only a part of whom they are.• Be clear to write what your characters DO

Real simple quick one here.• Characters are what they do. What they do is

not always what they say• What they say and the way in which they say

it is only a part of whom they are.• Be clear to write what your characters DO

feedback

Only God Can Judge Me! (and me mum)… (and perhaps those who are a little more experienced than me)… (and perhaps those who are in a similar situation to me and can empathise)

Subtitled- who do I get feedback from.Identity four people who you can go to for sensitive, well-considered feedback on your work. They need to be be people who can talk intelligently about creative writing. Literally make a list now!!

Only God Can Judge Me! (and me mum)… (and perhaps those who are a little more experienced than me)… (and perhaps those who are in a similar situation to me and can empathise)

Subtitled- who do I get feedback from.Identity four people who you can go to for sensitive, well-considered feedback on your work. They need to be be people who can talk intelligently about creative writing. Literally make a list now!!

Section 3. What next?

• What The Hell Do They Know? : Feedback• Writing is Re-writing: Say what?? OK, sure,

sure but how do I start ?

THIS SECTION IS INCOMPLETE. PLEASE SKIP TO THE NEXT SLIDE.

• What The Hell Do They Know? : Feedback• Writing is Re-writing: Say what?? OK, sure,

sure but how do I start ?

THIS SECTION IS INCOMPLETE. PLEASE SKIP TO THE NEXT SLIDE.

Bubbles?

Did you get your bubbles?? Ok.• So step away from the desk, step away from

the desk. • Raise those hands. • Put your lips together and blow!!

Did you get your bubbles?? Ok.• So step away from the desk, step away from

the desk. • Raise those hands. • Put your lips together and blow!!

Glossary• Exposition- Info the audience need to know to access the

story• Treatment. Document that describes the plot, characters and

creative intentions of the story• Outline/Step Outline- Scene by scene (major scenes only)

description of story. Not overly detailed with dialogue. Usually written before script is assembled in screenplay/stageplay format

• Subtext. Information that underpins a scene. The unspoken driver of the scene. eg. I want to tell you I love you but can better show it than say it.

back to presentation

• Exposition- Info the audience need to know to access the story

• Treatment. Document that describes the plot, characters and creative intentions of the story

• Outline/Step Outline- Scene by scene (major scenes only) description of story. Not overly detailed with dialogue. Usually written before script is assembled in screenplay/stageplay format

• Subtext. Information that underpins a scene. The unspoken driver of the scene. eg. I want to tell you I love you but can better show it than say it.

back to presentation