As you work on your feature film script, remember that you're unique. There is no one else like you in the whole world. Don't attempt to copy someone else's work - by so doing, you limit your level of creativity. Learn from others but maximize your potential. Welcome criticism.
Believe in what you can do. Use this forum to share experiences and scripting scripts
Tony and Liza, that was a very detailed presentation and well demonstrated. Remember, the ultimate goal in all our class sessions is to make learning fun and make evryone actively involved. This is what student centred approach to learning is all about. I'd wish to read more on your personal reflections on your experience in leading class. What are some of your best and worst reflective habits?
Make sure you post all your evaluation of the ten episodes within deadline set in course outline. If not, you'll have no one but yourself to blame for poor performance. Be informed: I mark but, I don't grade late submissions.
DAYSTAR UNIVERSITY Communication Department COM 364: Writing for the Screen Semester Project January 2010 Semester
INSTRUCTOR: Rosemary N. Kowuor
INSTRUCTIONS: Using the principles of writing the three-act structure, write a 30 page feature film script, structuring it around the criterion that is specific to this type of script.
The Final script MUST be submitted to the INSTRUCTOR not later than 22 April 2010. Meeting deadline is mandatory. No grade for late submission.
Project Timeline: One month Date Due: 22/04/10
Evaluation Criteria
Must meet the 30 page requirement 5 Points Must have a synopsis attached 5 Points Must include the traditional moments found in Act l 5 Points Must include the traditional moments found in Act ll 5 Points Must include the traditional moments found in Act lll 5 Points Must demonstrate the ability to create three dimensional characters 10 Points Must demonstrate the ability to craft effective dialogue 10 Points Must utilize an effective plot line in which incidents unfold in a logical progression 10 Points Must meet industry standards of presentation guidelines 5 Points
TOTAL 60 Points
Motto: Telling the African story, from an African perspective, through film
How to Write realistic Dialogue Dialogue should be motivated by the circumstances in the scene and should be consistent with the character development already established.
The Top-ten Worst Problems and solutions in writing dialogue: 1) Too head-on or too on the nose. This dialogue is too literal and embarrassingly obvious. It sounds contrived. 2) Too choppy. This dialogue is staccato. Filled with one liners. A word or two. 3) Too repetitious. Dialogue becomes repetitious when a character repeats himself or herself in a number of different ways. the character offers redundant information or repetitive phrases. 4) Too long. Dialogue that is too long reads like an editorial speech or a philosophical diatribe. it creates static action in the script and often includes related problems of redundancy and prechiness. 5) Too similar. Sometimes characters sound the same. Their dialogue patterns are indistinguishable from eachother. Once that happens, the character's individuality has been lost. 6) Too stilted. This dialogue sounds as if it came from a history book, a poem, a newspaper, a grammer text, but not from a person. 7) Too preachy. This problem is related to being "head on," "redundant," "too long," and "too stilted." The character tends to sound very formal and espouses thematic ideas or philosophical notions. He or she becomes an ideological mouthpiece for the writer, rather than a dimensional being. 8) Too introspective. The problem deals specifically with the character who is alone and speaks out loud. 9) Too inconsistent. This means that a character is saying something that doesn't fit the personality already created. The dialogue is incongruous with character. In some cases, that inconsistency results from a lack of proper transitions in the scenes. 10) Too unbelievable. This is a catch-all category that implies that a character doesn't sound real for any number of reasons. You can test the credibility of dialogue by speaking it loud to judge whether or not it rings true. it should sound like a real person responding to the immediate circumstances we've just seen.
As you work on your feature film script, remember that you're unique. There is no one else like you in the whole world. Don't attempt to copy someone else's work - by so doing, you limit your level of creativity. Learn from others but maximize your potential. Welcome criticism.
ReplyDeleteBelieve in what you can do. Use this forum to share experiences and scripting scripts
Hi! Tony and I (Liza) will be leading next class. So come prepared for fun as we look at Chapter 8 & 9 by Lisa. D and chapter 12 & 14 by Willis.
ReplyDeleteWe will be looking at dialogue and characterisation; plotlines subplots and secondary characters. We'll also look at script design.
See you!.
Tony and Liza, that was a very detailed presentation and well demonstrated. Remember, the ultimate goal in all our class sessions is to make learning fun and make evryone actively involved. This is what student centred approach to learning is all about. I'd wish to read more on your personal reflections on your experience in leading class. What are some of your best and worst reflective habits?
ReplyDeleteMake sure you post all your evaluation of the ten episodes within deadline set in course outline. If not, you'll have no one but yourself to blame for poor performance. Be informed: I mark but, I don't grade late submissions.
ReplyDeleteDAYSTAR UNIVERSITY
ReplyDeleteCommunication Department
COM 364: Writing for the Screen Semester Project
January 2010 Semester
INSTRUCTOR: Rosemary N. Kowuor
INSTRUCTIONS: Using the principles of writing the three-act structure, write a 30 page feature film script, structuring it around the criterion that is specific to this type of script.
The Final script MUST be submitted to the INSTRUCTOR not later than 22 April 2010. Meeting deadline is mandatory. No grade for late submission.
Project Timeline: One month Date Due: 22/04/10
Evaluation Criteria
Must meet the 30 page requirement 5 Points
Must have a synopsis attached 5 Points
Must include the traditional moments found in Act l 5 Points
Must include the traditional moments found in Act ll 5 Points
Must include the traditional moments found in Act lll 5 Points
Must demonstrate the ability to create three dimensional
characters 10 Points
Must demonstrate the ability to craft effective dialogue 10 Points
Must utilize an effective plot line in which incidents
unfold in a logical progression 10 Points
Must meet industry standards of presentation guidelines 5 Points
TOTAL 60 Points
Motto: Telling the African story, from an African perspective, through film
Wow! Now I know the use of the blogs... Thx Taylor, Christine and Mrs. Kowuor. Keep up the good job.
ReplyDeletehey tomorrows work is supposed to be act one right? dialogue that is
ReplyDeleteHow to Write realistic Dialogue
ReplyDeleteDialogue should be motivated by the circumstances in the scene and should be consistent with the character development already established.
The Top-ten Worst Problems and solutions in writing dialogue:
1) Too head-on or too on the nose. This dialogue is too literal and embarrassingly obvious. It sounds contrived.
2) Too choppy. This dialogue is staccato. Filled with one liners. A word or two.
3) Too repetitious. Dialogue becomes repetitious when a character repeats himself or herself in a number of different ways. the character offers redundant information or repetitive phrases.
4) Too long. Dialogue that is too long reads like an editorial speech or a philosophical diatribe. it creates static action in the script and often includes related problems of redundancy and prechiness.
5) Too similar. Sometimes characters sound the same. Their dialogue patterns are indistinguishable from eachother. Once that happens, the character's individuality has been lost.
6) Too stilted. This dialogue sounds as if it came from a history book, a poem, a newspaper, a grammer text, but not from a person.
7) Too preachy. This problem is related to being "head on," "redundant," "too long," and "too stilted." The character tends to sound very formal and espouses thematic ideas or philosophical notions. He or she becomes an ideological mouthpiece for the writer, rather than a dimensional being.
8) Too introspective. The problem deals specifically with the character who is alone and speaks out loud.
9) Too inconsistent. This means that a character is saying something that doesn't fit the personality already created. The dialogue is incongruous with character. In some cases, that inconsistency results from a lack of proper transitions in the scenes.
10) Too unbelievable. This is a catch-all category that implies that a character doesn't sound real for any number of reasons. You can test the credibility of dialogue by speaking it loud to judge whether or not it rings true. it should sound like a real person responding to the immediate circumstances we've just seen.