Script Analysis and a peppermint tea

Three amazing things are happening right now:

  1. I’m in my final year of my professional writing studies (so much work…)
  2. I have a new role at work (sooooo much work!)
  3. I joined a script analysis workshop (because I didn’t think I had enough work to do)

Script Analysis

Script Analysis by Cracking Yarns.

This is the really exciting one: Script Analysis is a 3-hour virtual classroom every Tuesday night for the next five weeks. We’ll study two scripts a week, and pull them apart to reveal the stuff that works, and the stuff that bores.

It’s an extension of a 2-day Screenwriting Workshop I attended in Feb, only this one allows me to sit at home in slippers while sipping a peppermint tea. I know the next five weeks will be intense, but that’s what I loved about Allen Palmer’s workshop.

Meanwhile, in other writerly news, I’m battling through a creative non-fiction unit (personal essays and memoirs) and a professional research unit (corporate stuff – policies, briefing notes, etc). Quite the contrast. The latter is a bit out of my interest zone, so the challenge is just getting through them. And then there’s the day job which is ramping up in a major way, and that scares me a little.

In the words of Dory from Finding Nemo, “Just keep swimming.”

Finishing my first short film script

I’ve been hanging out on Instagram a lot these days. I can’t get enough of photo prompt challenges, especially by Susannah Conway. You can find me at @alteredtype

I’m still studying – 8 months left and counting.

And still writing – a short story and my first 15 minute film script about a girl who meets a guy in a bookshop, but it doesn’t end well. For the bookshop.

And still hoarding stationery, which I don’t talk much about here, but I feel my ventures in art journaling and papery things will eventually feature more prominently on the blog (after studies are over).

And still getting over Christmas and various milestone birthdays, and a new role at work, and, and, and…

I may be away from the blog for just a little while. A wise screenwriter once told me, “If you’re writing a blog, you’re not writing your script.” Good point. Back soon.

On the shelf – screenwriting books

 

I had a little binge on screenwriting books, partly to help me through writing my first short film script and partly because they are books. You know.

  1. The Screenwriters Bible (by David Trottier)
    I went to a screenwriting workshop this year and apparently, this is the book to read, above and beyond all others. It’s hefty, but in a good way.Screenwriters Bible Book Cover
  2. Story: Substance, Structure, Style and the Principles of Screenwriting (by Robert McKee)
    The tome that every screenwriting person advises to read, and one that I have to read for my screenplay studies in December. Somehow I doubt that reading this will feel like homework.Story Book Cover
  3. The Psychology Of Screenwriting Theory And Practice (by Jason Lee)
    The basis of story telling is exploring the human condition, and this one sounds fascinating.”Numerous filmmakers and writers, including David Lynch, Jim Jarmusch, David Cronenberg, Pedro Almodovar, Darren Aronofsky, Sally Potter and Charlie Kaufman are explored. The Psychology of Screenwriting is invaluable for those who want to delve deeper into writing for the screen.Psychology of Screenwriting Book Cover
  4. Constructing Dialogue: Screenwriting From Citizen Kane To Midnight In Paris (by Mark Axelrod)
    I really, really, really want to get started on this one, but I have to wait (it’s not required reading, which is a very important thing when one is working and studying). It’s filled with examples of scripts and more importantly, analysis of dialogue. I have a feeling that writing great dialogue is something that requires a lot of practise.

    Constructing Dialogue Book Cover
  5. Save the Cat!: The Last Book on Screenwriting You’ll Ever Need (by Blake Snyder)
    Big call … the last book I’ll ever need? I’m curious about the unusual title; it has something to do with protagonists needing to have a heroic (saving the cat) moment as soon as possible in a film, so the audience will be on board with their journey, despite their crazy antics.Save the Cat