Showing posts with label Script Frenzy. Show all posts
Showing posts with label Script Frenzy. Show all posts

Tuesday, April 24, 2012

At a Loss for Words

LoL by: Joystory
yep I made this one.  You can vote for it a cheezeburger.com.

I'm feeling a bit overwhelmed today.  I lost three days to the Read-a-Thon and then yesterday happened my mood mirroring the impending storm until it broke.  So now I'm way behind on just about everything except reading.  Script Frenzy script, book reviews, house work, exercise, crochet (gifts for imminent events) and sorting/unpacking from December's move all jostling for head of the list.

So pardon me of I don't spend all my words and time on this post tonight.

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Friday, April 13, 2012

Friday Forays in Fiction: Weird Sisters and Script Frenzy

William Rimmer's Three Weird Sisters
Wow time just got away from me today.  I've been so rapt (pun intended) up in my script I nearly forgot to post.

I wanted to provide an excerpt from the pages I adapted today but I don't know how to make script format in Blogger so I'm going to go post the excerpt on my profile at Script Frenzy where, last year at least, they preserved the format in their platform.

Here's the link to where that excerpt will live once I get it posted.  If it isn't there yet check back later.  It is interesting to compare the two versions side by side.

Meanwhile I am providing her the excerpt from my short story Of Cats and Claws and Curiosities which I'm adapting to film script.  The one story isn't going to be enough so I'll proceed on to Making Ragdoll Babies and Million Dollar Maybes when I've completed Of Cats.  Both stories feature the same three characters who I think of as my three weird sisters and the events in Rag Doll Babies take place a few weeks after Of Cats.

The reason for that will be made clear in the following excerpt

I've posted the entirety of both stories in serial outtakes before and the links to them can  be found here.


[Previous to this scene Faye had fainted in the back seat of her Chevy Belaire driven by her twin sister Julia and a passing state patrol car had escorted them to this diner where Faye had been brought in by the female officer and provided with a bowl of ice water and a rag by the waitress to cool her face and neck.  Meanwhile Julia and Faye's sister-in-law Wilma had remained outside to secure the car


This scene opens with Julia and Wilma arriving at Faye's table inside]

 “Well, land’s sakes Sister!  Looks like you’ve taken a shower with your clothes on.  Did that meter-maid have to throw water in your face to revive you?”
    “Really, Julia, you exaggerate.”  Faye lifted the cloth from her face.  “Try it.  It’s quite refreshing.
    “Thanks just the same, I’ll pass.”  Julia pushed the bowl of ice water away and slid into the booth beside Faye.  “A nice tall wine-cooler over ice is the ticket for me.  What an invention!  Even the name sounds refreshing.”
    “It will be the ticket for you all right.”  Wilma dabbed at a film of sweat on her lip with a fresh linen handkerchief.  “A ticket for drinking and driving, most likely.  As you are already called to the attention of the police it seems an unwise choice.”
    “Oh shwise, shmise!  A wine cooler has less alcohol in it than that cough syrup you swig.”
    “That is a prescription.  But you digress.  Driving under the influence of alcohol is against the law.”
    Faye was relieved to see the waitress approach. Those two could continue such exchanges endlessly, unsheathing insults like cats spoiling for a fight--or settling on ones lap to sleep.
    “I’ve orders to give you ladies first class service.”  The girl flashed a grin at Faye and with casual brushes at errant, rusty-hued tresses said, “At your command m’lady.”  Pad and pencil ready in exaggerated pose she deferred to Faye with elevated brow.
    Faye ducked her head to hide another blush, stammering her order for a cola and chocolate-cream pie.  What is it with these insinuating winks and grins implying non-existent alliances?  She only half-heard Wilma order unsweetened iced-tea, an unadorned bagel; Julia request cottage-cheese, fruit cocktail and the wine cooler she’d likely been jesting about before Wilma’s lecture.
    “So’s you know who to ask for, my name’s Sandra.  I work this here section.”  She encompassed the nearby tables with a wave and brushed at her hair again.  “It’s quiet now, but the dinner crowd’ll be here soon.  Be busy then.  But you ladies got my undivided.  Just wave.”  She gathered up Faye and Cassie’s iced-tea glasses and the bowl of ice water in which Faye had deposited the cloth.  With swift swipes of a damp rag, condensation rings from the glasses and splatters from the compress vanished.
    In Sandra’s absence Faye focused on the view out the window, afraid Julia or Wilma might see her discomposure and twit her.  Squinting at the sun-flashes off passing wind-shields, she recognized the Chevy by its distinctive outline rather than its garish color scheme, for glare reduced the purple to muddy gray.  A disparity kept her eyes straying to its silhouette--ah, no reflections of people or buildings on its windows as on other cars along the curb.
    “The windows are down!”  She turned toward Julia in alarm.
    “But of course!”  Julia replied.  “Who wants to return to that oven on wheels to the aroma of baked cat?”
    “A crack would have sufficed.”  Wilma said.
    “Toasted cat.  Roasted cat.  What’s to choose?”  Julia pulled the front of her tank-top out and fanned herself vigorously with a Nickel, a local want-ad paper she had picked up at the entrance where they were displayed under a sign proclaiming ‘FREE’ in foot-high letters.
    “But Sister, it’s inviting passersby to help themselves.”
    “Don’t be silly.  We’ve got clear line-of-sight.  If anyone did abscond with one of our fancy-sacks, how far could they get?  Relax!”  She gave Faye’s knee a constraining pat.
    Faye subsided into her corner, her ration of defiance spent.  She devoted attention to the Chevy, alert for any potentially suspicious move made by occasional passersby.  The trickle of late afternoon customers seeking refreshment and relief from the heat soon became a torrent, spilling off from the five-o’clock flood of pedestrians rushing by outside, impeding Faye’s view of the car--her brief glimpses abruptly cut off by pieces of bodies, purses, brief-cases, shopping bags.  She squirmed in her seat, leaned a smidgen left, right, craned her neck until it ached, all but stood on the seat to keep the car in sight.  By the time Sandra returned all moves had begun to look potentially suspicious so she was glad for an excuse to relax her vigil.
    Her view funneled between elbow and waist of an angular woman at a leisured amble amidst the hastening home-goers.  Faye watched her, intrigued by incongruities reminiscent of ‘What’s wrong with this picture?’ games.  Spike-heeled sandals slowed her pace without detracting from the dancer’s grace of her carriage.  Golden curls cascaded down her back to pool in the hood of a knee-length black rain cape.  The cape, flung over the shoulder to free the right arm which supported a large canvas bag and held aloft an umbrella, flaunted a lining aglow in the sultry light with the hew of fresh blood.
    With rain-cape and umbrella on a warm, evening identified as the incongruity, Faye turned back to the Chevy.  But something niggled, fidgeting her eyes to the puzzling woman, whose progress was marked by the black umbrella displaying a pentagram delineated in a silvery substance that shot light-arrows into incautious eyes.  Like the last word of a crossword puzzle she couldn’t get because the clue wasn’t in her repertoire, the inconsistency continued to elude her.  Resigned, she shifted focus only to see the solution.
    As is usual when a woman of striking self-possession walks through a crowd with the svelte grace of a cat, many admiring glances were cast her way, but only from behind-those facing her kept their eyes carefully averted, except for one small child who gazed up at her with riveted awe in spite of admonishing tugs on the arm.
    Solving one puzzle created another.  Her insatiable need to watch people was shameless, but so seldom did she leave the seclusion of the estate, she must soak up sights and sound to savor in the solitude of long, somnolent evenings.  The novel and unique drew her, provided threads of exquisite mystery for weaving numinous dreams.  This woman would wander wondrous dreamscapes-forever faceless and eternally ethereal.
    Feeling regret nigh on mourning when she lost sight of the woman, Faye turned to her pie for consolation until Julia nudged her and jabbed her fork at the window.  “Will you look at that!”
    Faye looked and there was her mystery woman--cape, heels and umbrella, but now the umbrella was closed and dangling from it…
    “My bag!  The cat!”  Faye jumped to her feet, knocked her knee against the table, jarring the dishes into a jittery dance. X
    “She poked that umbrella in there, pretty as you please and out came the bag.  And staring straight ahead all the while too.  Cucumber-cool.”  Julia slapped the table and cutlery chuckled in counterpoint.  “She cased the car, walked by it three times.  I wish I could see her face when she finds out what she’s bagged!”
    “Aren’t you going to do anything?”  Faye was frantic.
    “What’s to do?  She hasn’t got anything valuable.  Let it be.  It’ll learn her a lesson.”  She ignored Faye’s attempts to get by.
    “One should not make a scene in public.”  Wilma cautioned.
    “Who’s afraid of a scene?”  I’d show you a scene alright if it’d been my boots she’d hooked.  Look, she’s coming this way.  I do believe she’s going to walk right in.”  Julia laughed
    Aghast, Faye watched the woman walk in, peer about, come right at them, and seat herself in a booth across the aisle.  The riotous curls framed an ancient face from which peered searing blue eyes like sapphires embedded in a walnut.  Withered lips parted over teeth like fine, white porcelain as she queried the empty air and nodded sagely at the answer.
    “Let me go talk to her.”  Faye begged an un-budging Julia.
    “Leave her be.  I gotta see this.”  Julia said.
    “It’s not polite to stare.” Wilma proclaimed.
    “It’s not polite to steal either.”  Julia said as Sandra brought coffee to the woman’s table and poured it without exchanging a word with her.  “Ah.  She’s a regular.”
    “Ladies.”  Sandra turned to them.  “Anything I can do you for?”
    “We’re fine.”  Julia answered, her eyes fixed on the woman.
    Sandra leaned close to whisper, “That’s Estelle Starr, a bit dotty but harmless.  Used to be a performer of some kind.  Shows up in Westmont last year and we took to watching out for her, but in such a way as saves her pride.  She’s partial to riding the bus ‘tween here and Vancouver.  Folk’s here drop tokens and coins in odd places she’s apt to be.  Fancies herself a witch.  Always muttering in rhyme and talking to invisible friends.”
    They watched Estelle’s animated conversation with her unseen seatmate, drawn by its dramatic expressiveness.  Julia’s mouth twitched with barely restrained hilarity and Wilma’s lips pursed with pent remonstrance.  Faye, quivering with indignation at her enforced impotence, had a mind to push Julia off her seat.  Such desecration!  All to satisfy Julia’s whim and sooth Wilma’s wounded propriety.
    “Westmont attracts her kind.”  Sandra went on.  “Ekcentrics, ya know?  We got a passel here abouts.  We’re partial to ‘em I guess.  One runs a cat ranch up on the ridge, drives this hotrod my kid brother drools over.  She’s a raycluse, doesn’t come to town much.  Even so stories of her doings would fill a library.  And if they’re all true she must be ancient cause my gramma tells some she heard as a girl…”
    Her attention riveted on Estelle Starr and the bag, Faye was barely cognizant of Sandra’s chatter.  Her feet fairly itched to march over there so she could spew out the words of accusation and condemnation that flooded her mind.  But helpless against the concerted front of Julia’s determination to be entertained and Wilma’s studied obliviousness, outrage withered and she sank in her seat with a sigh.  She filled her mouth with chocolate to calm herself as she watched Estelle fondle the bag--patting it and smoothing its creases.  Mesmerized by these motions Faye missed the moment she parted the lips of the bag to peer in.
   
    “There she goes.”  Julia’s voice conveyed a smug and eager expectancy.  Sandra broke off in mid-sentence and turned toward Estelle, briefly blocking Faye’s view.  Then with an exclamation of concern she was hurrying to aid a swooning Estelle as Julia gasped between exultant giggles, “Did you…ever see such…a sight for sore eyes!  It was better than I’d hoped!”
    At Fay’s incredulous, “For shame, Sister!”  Julia chocked back the giggles and managed to look chagrined.
    As Sandra rose from a recumbent Estelle to rush off, stuttering something about blood, paramedics, police and a Halloween Gagger Estelle stirred, muttering hectically.  Stray phrases reached their ears.  ‘…gouts of blood…the bloody business…wicked dreams abuse the curtained sleep...craft celebrates pale…offerings…”
    “Methinks the lady suffers pangs of morbid guilt.”  Julia said.
    “As well she should for such mangling of Macbeth.” said Wilma.
    “Ah, our star speaks lofty words.”  Julia chortled.
    Estelle, struggling to sit saw her bloody hand and moaned.  “What hands are here?…Will all great Neptune’s ocean wash this blood clean from my hand?  No, this my hand will rather the multitudinous seas incarnadine, making the green one red.”  She commenced rubbing her hands together as if under a faucet.
    “The wine of life is drawn.”  Julia intoned, baiting her.
    Estelle turned sharply with widened eyes, encouraging Julia’s merciless taunting:  “We the three weird sisters be.  Let us meet and question this most bloody piece of work, to know it further.  Was there warrant in that theft?”
    “Fears and scruples shake us.  In the great hand of God I stand.”  Estelle clutched the ill-got bag with defiant courage.
    “Your cruelty shames me Sister, have you no mercy?”
    “Fill me from the crown to the toe top-full of direst cruelty!  Make thick my blood, stop up the access and passage to remorse.  That no compunctions shake my purpose.”  Julia intoned.
    Wilma winced, “If you must misappropriate the lines, at least refrain from misquoting them.”
    “Thou marvel’st at my words, but hold thee still, things bad begun make strong themselves by ill.”
    During this exchange, Estelle dared again to peek in the bag.  Her shriek quelled the incipient quarrel.  “Avaunt!  And quit my sight!  Let the earth hide thee!  Thy blood is cold.”
    Julia meowed like a tortured cat.  “Thrice the brindled cat hath mew’d.  it will have blood, they say, blood will have blood.”  Her voice became a cadenced growl.  “Double, double, toil and trouble, fire burn and caldron bubble.”  At the sound of sirens wailing in the distance Julia chanted:  “By the pricking of my thumbs something wicked this way comes.”  Then to preempt further protestation from Faye or Wilma she turned to them with:  “I am in blood stepped’ in so far that should I wade no more, returning were as tedious as go o’er.”
    Estelle was again agitating her hands. “Will these hands ne’er be clean?…Here’s the smell of the blood still.  All the perfumes of Arabia will not sweeten this little hand.”
    “Now does she feel her secret thievery sticking on her hands.”  Julia mocked, not hiding her glee with this impromptu game.
    Estelle trembled at the sound of approaching sirens, moaning, “How isn’t with me, when every noise appalls me?…Make all our trumpets speak; give them all breath those clamorous harbingers of blood and death…Out, out, brief candle!”  so saying she once more swooned.
    “Now you’ve done it Julia.”  Faye remonstrated.
    “Thou canst not say I did it.  Never shake thy gory locks at me.”  Julia shot back.
    Sandra returned, ushering in the paramedics.  “Still out poor thing?  What a shame.  You ladies may want to stay put for a bit.  The press is swarming out there.  They got word of another Halloween Gagger incident already.”

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Wednesday, April 11, 2012

I Leave You With



After yesterday's epiphany, confession and recommitment to writing my stories I wanted to make sure that the bulk of my writing time today was devoted to my stories so today's post is of the flower and set of two leaves I crocheted today with as little commentary as I can get away with.

These are part of the set of flowers, leaves and bows for my mom's sweater.  A project I've discussed repeatedly here over the last three years as it morphed from embroidery with floss to embroidery with yarn to crocheted broaches.

These are fresh off the hook--the leaves within the hour--and still need to be dampened and blocked.  But the tails are tucked except for the one on the back of the flower needed to sew the button on.

The button is from Mom's collection of buttons that go back to her Grandmother, passed to her mother and now to me.  Each one adding buttons from their generation left over from projects or cut off discarded clothes.

I've already presented her with what I had completed by the time I arrived there in early January.  There are pics of some of the flowers and bows pinned to the sweater around her her 80th bday bash the second week of January.  I may go find the link later and update this post with it but I'm trying to limit the time I spend on this right now.

As I often do while working with fiber arts--crocheting, needlepoint, cross stitch, needlepoint--I daydreamed my stories as I worked today so I'm primed to work with them now.

I have decided that the best way to do that is to go ahead and work the script adaptation I had planned for Script Frenzy even though it is 11 days in and I've not written one word on my script.  I had contemplated just backing out of Frenzy in order to write fresh scenes in one or more of my novels but then it occurred to me that working on a script adaptation of a story that contains over twenty characters that pop in and out of the other stories and novels is the best way to get my head back into the story world.

I was never in Script Frenzy to win this year anyway.  For me it is an exercise in learning a new aspect of my craft.  I'm hoping though that by next year I will have gained enough confidence in my understanding and use of the format to aim for the win.

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Thursday, March 29, 2012

Script Frenzy Resources

Script Frenzy

Some resources I've been bookmarking for Script Frenzy:




I'd planned to make nice text labels to hide the links in and add brief descriptive blurbs and then talk a bit about my Script Frenzy plans for Sunday but my browser has be bratty for the last couple of hours, freezing and java crashes and taking forever to load or to even do simple tasks in the Blogger platform.   A post that should have taken me thirty minutes to do has taken me three hours to just get this far.

Meanwhile, I can't afford to spend any more time on this if I want to do any Bloggiesta stuff before I have to sleep.  And I have to sleep earlier than usual tonight as I will likely get little sleep tomorrow night.  I still have much packing to do and need to have all but the last minute stuff in the van before my sister goes to bed tomorrow night.  We're leaving at 8:30 AM Saturday for Phoenix OR. That's about 33 hours from this moment.

It's about a six hour drive.  But we'll be in the Vancouver WA area for a bit before we hit the freeway south for real.  Then at the other end my sister, Ed and I will unload the van so Carri can turn around and head back north ASAP.  We are leaving Mom in her grandson's company for the day with meals pre-prepared and phone numbers he can call if necessary.  Including his mom's cell.

If all goes as planned, in less than 40 hours I'll be home.

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Friday, March 16, 2012

Friday Forays in Fiction: 10 Quotes for Scriptwriters

Rock Climbing in Idaho
Photo Credit Bureau of Land Management
Writing a screenplay is like climbing a mountain. When you’re climbing, all you can see is the rock in front of you and the rock directly above you.You can’t see where you’ve come from or where you’re going.   -Syd Field

In light of the fast oncomming headlights of Script Frenzy I've collected some inspirational and kick-butt (or kick-but) quotes:

The first draft is nothing more than a starting point, so be wrong as fast as you can.   -Andrew Stanton

Stop thinking about writing as art.  Think of it as work.  If you’re an artist, whatever you do is going to be art.  If you’re not an artist, at least you can do a good day’s work.   -Paddy Chayefsky

Successful people don’t wait. They don’t get stalled on one step, one issue, one project. They continuously go about the problem of creating value. They’re not interested in struggling and waiting, they’re focused on doing.    -Frank Darabont

A film is – or should be – more like music than like fiction. It should be a progression of moods and feelings. The theme, what`s behind the emotion, the meaning, all that comes later.   -Kubrick

Our primary function is to create an emotion and our second job is to sustain that emotion.   -Alfred Hitchcock

It wasn’t until about the fifth draft of ‘sixth sense’ that I really began to figure it out. It was then that I realized he’s dead. It took me five more drafts to execute it right.   -M. Night Shyamalan

Creativity is allowing yourself to make mistakes. Art is knowing which ones to keep.   -Scott Adams

Don’t get it right, get it written.   -Art Arthur

I write only when I’m inspired. Fortunately I’m inspired at 9 o’clock every morning.   -William Faulkner

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Thursday, March 15, 2012

Embrace the Frenzy



This promo was created by high school students.  How cool is that.

Only two more weeks.  And a bit.

I'm slower to embrace the Frenzy this year as I'm still at my mom's where I have less control of my time than I'd like for doing this but I have more control than many who participate.  I definitely have more than high school students.  Or mothers of young children, college students, people with full time jobs or those with health challenges.  All of whom have schedules with less flexibility than mine right now.

I guess it isn't really the time that concerns me so much as the fear of allowing myself to be lost in my story the way I always do.  Communicating with me at those times is like trying to wake someone from a dream.  Those times when I know others are depending on for whatever reason I resist that total immersion that is so essential to fishing that story out of my subconscious.  Of course there is a time factor in that too but its more about my knowing that I don't shift back and forth between that day dreamy mind necessary for the story and the no-nonsense mind necessary when I'm tending to Mom's needs or the open, companionable mind required for socializing with others.

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Thursday, March 08, 2012

Friday Forays in Fiction: Script Frenzy

Script Frenzy

Less than a month until Script Frenzy starts.  I've been debating with myself whether I would participate this year.  Everything is so topsy-turvey  and if I'm going to write I'd rather write on my stories.  But I think I would eventually feel like I was missing out on something if I don't.  I don't stress Script Frenzy in the same way I do NaNoWriMo.  I've always approached it as an exercise for learning a new aspect of my craft--storytelling.  I have participated the last three years and have yet to accumulate more than twenty odd pages but I came away feeling I had learned a lot each time.

I had expected to be back at home before it was time to start preparing for Script Frenzy.  Each year except my first in 2009 I've spent most of March preparing--choosing the story, studying the formatting rules, practicing with Celtix, reading library books on script writing, reading scripts.  And pretty much that just continued into April.  I learned today that my trip home has been postponed yet again. For possibly two weeks and for sure at least one.  So my vague notion of waiting until I got back home to even start thinking about it no long serves.  I need to decide if I'm going to and if so which story and whether to send for more library books.

My first year in 2009, I didn't start from scratch with a new story but was adapting one of my short stories.  I just might go that same route this year.  Or multiple stories if I finish one and am still under 100 pages.  That would take the least amount of prep work which works better for while I'm still at Mom's and have so many other commitments.

The story I worked with in 2009 was Of Cats and Claws and Curiosities.  So that leaves these four completed stories to choose from:  

How Does Your Garden Grow?  part 1 part 2
Running in Circles   part 1 part 2
Blow Me a Candy Kiss   part 1; part 2; part 3; part 4; part 5;
Making Rag Doll Babies and Million Dollar Maybes  Part One ~ Part Two ~ Part Three ~Part Four ~ Part FivePart Six Part Seven ~ Part Eight ~ Part Nine ~Part Ten ~ Part Eleven

The last one features many of the same characters as Of Cats and Claws and is probably long enough to get me all the way to 100 pages assuming I make it that far.  But it would probably take all three of the others and even then may not be enough.

The links are to the 'snippets' I posted for Friday Snippets several years ago.  The stories are complete though.  You can find the links to Of Cats and the many incomplete stories on the post I've dubbed my Fruits of the Spirit Storyworld Portal

Which of the above stories would you like to see as a film?

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Saturday, April 16, 2011

Watch and Learn


In the last two days I've been watching You've Got Mail over and over. The first time as a normal feature film the second with the commentary from director and producer, the third with the music sound track only, the forth normally once again and I was in the middle of the fifth time when Ed came to bed and I had to turn off the TV.

Though I am enjoying it immensely it is not entirely for that purpose. It is part of the self-education on script writing in honor of the ongoing Script Frenzy. Some might say it is a not very subtle form of procrastination, this insistence that all this movie watching this month is on behalf of my script. And they'd probably have a point. But I have been learning a lot which is what I set my mind to for this year's Script Frenzy--to make it more about learning the art and craft of film stories than about a frantic typing of nicely formatted words that can barely be called a story and read more like a rambling novel with oddly indented dialog.

I didn't know until yesterday that the same writer/director who gave us You've Got Mail, also gave us Sleepless in Seattle and Julie and Julia. She also wrote When Harry Met Sally. I learned this (except for the Julie and Julia) while watching the special features on the DVD in which Nora Ephron talks about making the movie, writing the script, the meaning that language and story have for her, growing up as the daughter of writers (her parents wrote Carousel and The Desk Set) and working with Tom Hanks and Meg Ryan.

Ephron said in one interview I saw on YouTube that all romantic comedy stems from either The Taming of the Shrew or Pride and Prejudice and that in the one case the thing standing between the couples is a matter of character and in the other a matter of class. Until Woody Allen she caveats. In which case the block originates in the male's neurosis.

I'm not sure what to make of all that and will have to contemplate it for a time before either agreeing or not. Probably need to reread Taming of the Shrew and Pride and Prejudice as well. As for Woody Allen adding a third, previously not existing strand to the romantic comedy tradition. Well I must ask, in what way is neurosis not a character issue?

I could really enjoy discussing story face to face with Nora Ephron though.

You've Got Mail was a remake or retelling of a classic stage and screen play. A month or so ago I watched The Shop Around the Corner starring Jimmy Stewart and the In the Good Old Summertime starring Judy Garland. The first was black and white and the second was a musical and in color made lees than ten years after the first. The original stage play had the word 'perfume' in the title, tho not the English word. Was it French? I really should go to Wikipedia or IMDb and get my facts straight but I'm fading fast here having been awake since 3 this morning and it closing in on 11pm as I type this.

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Friday, April 15, 2011

Friday Forays in Fiction: What Makes Funny Funny?

u fink dats funnee? dewd!1! dats jus sick n wrong


I've been contemplating humor a lot this month as I work on my script, read, watch movies, peruse LOLcats. What makes funny funny? I haven't any words of wisdom or profound insights to share. I'm just sharing the fact that it is on my mind.

I'm too tired to form my thoughts into coherent sentences even if I did have something insightful to share. I've been awake since 2:30am and the pillow is whispering sweet nothings. Why was I awake at such an hour? Because I surrendered to a nap attack after dinner last evening and then slept a full 7 hours.

I do have one observation about humor that just occurred to me. It seems to have something to do with surprise. As I was writing the above paragraphs my memory flashed on half a dozen things from movies, conversation and LOLcats that have elicited laughter or giggles from me recently. And they all seem to have the element of surprise in common. It might be interesting to analyse those moments looking for more commonalities than surprise or attempt to establish that surprise is in fact the common denominator. But the pillows are starting to hum lullabies now.

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Friday, April 08, 2011

Friday Forays in Fiction: Script Frenzy Apt

The Most Justified of Justifications


Just sharing some script writing relevant fun stuff I came across while procrastinating this week. Above a pun from So Much Pun about text formating.

Fussing with script formatting is yet another way to procrastinate.

Below is a trailer for Tales From the Script, a video I streamed on Netflix that I hoped would give me insight into the script writing process. I thought it might be motivational but if anything it was probably demotivational.

I'm a control freak when it comes to my stories so after hearing what role the screenwriter has after their script is bought and what's subsequently done to their stories, I'm less inclined than ever to want to make screenwriting my forte. But I still want to learn the technique. I learn best hands on and I'm currently fascinated with how stories are created for the screen and stage so I'll keep playing around with the format as I continue to watch videos.

And maybe now that I'm less attached to the fantasy of a movie ever actually being made from my script I can transfer the energy of that fantasy back into the story.

The story IS what it's all about.



Meanwhile after my glorious first twelve hours last week which garnered me three pages of script, I haven't added a single page. I have done other related writing--character sketches, descriptions, outlines and so forth. Just no work on the script itself. I got all tangled up in my mind about what whould happen in what order and froze. Once again just like with my novels I get first draft confused with final draft...

Well, I will try to get back into the spirit of play again. But not until Sunday evening now as Saturday is the 24 Hour Read-a-Thon which begins at 5am for me. I'm probably not going to sleep again until after its over as I tried to stay up today to flip my hours but crashed at 1pm and slept until 10pm. Which means I'll hit 24 hours at 10pm Saturday and have to make it another 7 hours if I want to participate to the end at 5am Sunday.

I am planning to make a good percentage of my reading Script Frenzy related though. I have several scripts at hand to read and four books on scriptwriting. But I will be reading at least one novel as it has been over a week since I've lost myself in a fiction story on the page. I also have some audio books I can listen to while I crochet or work on the baby afghan fringe. I'm behind on both the baby afghan and the silk shawl and just went 9 days without picking up my hooks.

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Wednesday, April 06, 2011

Yeah, That Could Be It

aawww. . . look at you trying                             too hard again.

Yesterday's funk was a combination of sleep deprivation and angst buildup over the widening gap between the number of script pages I have and the number I should have by day .

But I should know by now with decades of past experience on these matters, that that very stressing over word/page count, between what is and what 'should' be, is the very thing that throttles the muse. The main difference between Friday between midnight and noon when I wrote the three pages and every day since then is that Friday morning I was feeling flush with time and came at it with the spirit of playfulness and every day since have been tense with a sense of a falling ax over my keyboard.

It's no wonder my fingers would just as soon stay out of the way of that menace.

So its time to woo the muse again with an invitation for a play date.

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Sunday, April 03, 2011

Sunday Serenity #223


As part of my April Script Frenzy education in script writing and film making, I watched two animated films this weekend. The one I watched today was Brendan and the Secret of the Kells.


Here's a bit of the historical context with a few glimpses at the beautiful Book of Kells.


Here someone as put together what is essentially a slideshow that I'm guessing shows every page of the Book of Kells.

Awesome art.



Yesterday I watched Percepolis. Twice. Once in French with English captions. Then in English, still with English captions as a nod to my hearing impairment.



I learned something interesting about the difference between a movie's release in America vs the UK (still in English) and other countries. For Americans, even for a movie meant for adults, they clean up the language. But the captions apparently escape the scrub, which is how I discovered it was happening.

Also in the American release the Government official who offered to offered to make the father of the Shah seen overthrown here Emperor in exchange for the oil, was a British Naval Officer whereas in the French original it was an American spook. (I imagine they might both be true.)

I wonder how often such things are done? Not governments subverting other governments for profit but film producers releasing different versions in different countries with an eye to coddling their prejudices.



One of my fav scenes. And apparently is so for many as it was the most frequently posted on YouTube after the trailers.


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Saturday, April 02, 2011

Mobile Hopes


My screenplay for Script Frenzy this year is set in the same story world and has the same title as my NaNo novel from 2008 which is set in a mobile home park.

In October 2008 as prep work for my novel, Mobile Hopes, I went walking with Ed around our trailer park and the surrounding neighborhood taking pictures. For most I did not raise the camera to my eye and aim at anything particular. I kept it at my waist or even down by my hip and surreptitiously took shots at the yards, carports, cars, flower beds, porches, trailer sides and fronts, children's toys, signs, pets, puddles, trees, bushes, bikes, trikes, strollers, etc. I took pains to keep people out of the shots tho as I did not want to invade their privacy that way nor did I want any record of which face belonged to which trailer for the same reason.

My intent was to make a slide show of those images to use as inspiration during November but I ended up not getting it made until late December when I discovered this site that makes putting together a slide show painless. I am reposting it here in honor of my current Script Frenzy project and to make it easier to find and use for inspiration this month as it took me over an hour to find it this time.

One of the things I'm itching to do now is to take some of those shots and crop out image to focus on. There are some photos I could crop out several separate images. Plus there are more photos in my files. This represents only ten percent of the shots I got that October and there have been many other photos taking in our yard and vicinity for various family occasions and some of those could be included.

The reason for doing this is to jump start my muse as my memory and imagination is triggered by visual cues. Usually only a few seconds to a few minutes of gazing at a still image or flipping through a stack of them is enough to start a series of moving images with people acting out on the empty stages or joining those already there.

One of my work habit issues though is that I love daydreaming those mini-movies so much and find the act of trying to capture the magic of them on paper or screen in words only, I stay stuck in the inner movie and avoid the pen and keyboard.

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Friday, April 01, 2011

Friday Forays in Fiction: Script Frenzy Begins


So Script Frenzy started at midnight. To my extreme surprise I had my 3 page quota by noon. I've spent the time I've been awake since late afternoon tweaking it and then trying to get it to display here in screenplay format which is apparently impossible. By using align center, quote and quote inside quote I got an approximation. The worst offender left is the dialog which is supposed to be only about three inches wide and indented so it is almost centered yet is still left aligned while the lines wrap after only 30 odd characters. There are supposed to be no blank lines between the parentheticals and the dialog but using the quote function creates them. The only thing I think might solve this is to insert each dialog from character name to end of speech inside a table to control the margins.


As I mentioned earlier this week I'm setting this in the story world of my 2008 NaNo novel, Mobile Hopes. Though much of the story I have in mind is not the same and some old characters will not be included while new ones will be created, I decided to start with one of my fav characters and use the interior monologue ramble I wrote in her voice--not as part of the novel itself but a 'get to know her' exercise--to open this script.

I liked it so much, I posted Gerta's ramble as a snippet of my NaNo novel in 2008. You can read the whole thing here. If you read both it and the script excerpt below you will notice that one short paragraph of the monologue has taken me to 3 whole pages of script. If that becomes a trend I should get 30 pages of script out of it. Then I could extend the script by adding to her ramble or using one or more of the other character's rambles.

Mobile Hopes
a screenplay
by Joy Renee
(excerpt)

EXT. MOBILE HOME PARK DAY


GERTA, an elderly woman with hunched shoulders sits in a wheel chair under a porch awning fussing with the buttons on a frilly silk dress. In her lap is a small pouch from which she pulls small wrapped candies and pops them in her mouth.

The sky is deep blue with very few wispy clouds. A heat shimmer rises off the asphalt of the lane meandering between two rows of trailer homes set so close together a tall man could reach out and touch his neighbor's house while standing on the edge of his driveway.

Intermittently are heard the pops, sizzles, crackles, booms and high-pitched whistles of fireworks.

A clash of music and voices eminate from boom boxes, car stereos and TV sets by open windows.

Dogs bark and growl. Cats hiss and yowl. Chases ensue between some unleashed ones.

Filling the air are hoots, hollers, honks, whispers, whines, whistles, small children's squeals and teen's screams, adult's laughter, pre-teen giggles, and voices of every timbre from soft as a whisper to loud as the calling across the lane from one porch to another.

Gerta sits next to a rail that is just a yard or two from the edge of the lane watching the action.

GERTA (V.O.)
(whining)
I don't know why I'm here. It's too hot. It's too crowded. It's too noisy. All those pops and whistles. The yammer yammer. And all those kids running and yelling.
(with disgust)
The mouths on them too. Land's sake. It's like they got not much more than a four word vocabulary and the first three are Me, I, and my. And the forth one. Land of Goshen Papa woulda made em chew the bar of soap! My skin wants to crawl right off me. I don't know why I can't just go home.


MONTAGE LANE GERTA'S POV


Children and adults of all ages stream in both directions at times forming eddies that hold in place as they stop to chat, allow their leashed pets, toddlers or babies in strollers to commune.

Children between 3 and 13 circle each other on bikes, trikes, scooters and skates. Teens over 13 travel in packs that swirl, coalesce and break apart with some walking backward in front of others.

The couples among them entwine arms or fingers despite the heat. Some walk with hips touching and hands inside each others back pockets. Sometimes a boy carries a girl piggyback.

Many of all ages are dressed in swim wear with towels wrapped around waists (girls and women) or necks (boys and men) or shoulders (small children). Those going one direction are dry while those going the other are wet.

The sounds of splashing and whooping come from the pool the other side of the back yard fence and of basketballs bouncing on the cement strip under the hoop just outside the pool fence.

Occasionally cars pass squeezing the others to one side. When two cars pass going oposite directions everybody on the lane has to wait them out on the nearest driveway or narrow strip of grass or gravel in front of the nearest trailer.


EXT. GERTA'S PORCH DAY


Gerta sucks on a hard candy, smoothing its celophane wrapper flat in her lap as she watches two preteen boys on bikes approach. The one in the lead is weaving all over the lane purposely blocking the other boy from passing him.

The second boy, younger than the first by a year or two, is forced to plant one foot on the ground to avoid colliding with the rear wheel of the bike in front.

BOY ON BIKE 2
(yelling in rage)
You're making us late you freakazoid! Mom's gonna freaking flip!
He bends to tie a loose shooelace as his brother rides circles around him, poking his back, ribs and butt.

BOY ON BIKE 2
Knock it off turd face!
(rising to grip handlebars)
Just you wait! You gotta sleep sometime.

BOY ON BIKE 1
(chants)
Try and die!
If you try, don't close your eyes!
Give me flack, don't turn your back!
Payback's a medevac!

Gerta fishes a wad of tissue from behind one hip extracting a small cat turd from it which she then wraps in the cellophane candy wrapper, twisting the ends closed.

As she focuses on this intricate task with arthritic claws, the upper plate of her dentures slides in and out between her lips.

She looks up as the first boy stops chanting and speeds ahead before his brother can remount. As he passes, she takes aim and pitches the cellophane wrapped turd at him. It hits his ear and falls to the ground.

He spins his bike sideways across the second boy's path, leaps off letting it fall as he rushes toward the other bike.

BOY ON BIKE 1
That's all she wrote Billy Goat!
He lowers his head and charges and with a flying tackle topples boy and bike, pummeling with fists before they hit the ground.

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Wednesday, March 30, 2011

Library Loot: March 30 – April 5

Library Loot is a weekly event co-hosted by Claire from The Captive Reader and Marg from The Adventures of an Intrepid Reader that encourages bloggers to share the books they’ve checked out from the library. If you’d like to participate, just write up your post-feel free to steal the button-and link it using the Mr. Linky any time during the week. And of course check out what other participants are getting from their libraries!

Claire has Mr Linky this week


These first four reflect the latest, though annual, obsession I'm about to dive into.


Script Frenzy starts at midnight tomorrow night. Twenty some hours away for me now.

These four scriptwriting books came home last Thursday.

Essentials of screenwriting : the art, craft, and business of film and television writing by Richard Walter

This is my favorite of the four scriptwriting how-to books I checked out last week. I've actually read a dozen or more pages in a row while I've mostly browsed in and read glossary entries and checked the indexes for specific topics in the other three.

The screenwriter's bible : a complete guide to writing, formatting, and selling your script by David Trottier

I've found some useful advice in here but it's not exactly a page turner. It is also BIG. Like a coffee table book.

The complete book of scriptwriting by J. Michael Straczynski

Straczynski has appeared in the credits of several TV series. Babylon 5 for one. Which is one of my all time favorite. So I am going to give him a serious listen.

A forth book, Writing the Script: A Practical Guide for Films and Television by Wells Root, is three decades old which is probably why I had trouble find an image of the cover.

Tomorrow I'll be picking up several actual scripts to read.

The Sufis by Idries Shah.

Also mentioned by Doris Lessing in Time Bites.

Who the hell is Pansy O'Hara? : the fascinating stories behind 50 of the world's best-loved books by Jenny Bond & Chris Sheedy.

This one popped up in my search a month or so back on all things Jane Austen.






Odd gods : new religions & the cult controversy edited by James R. Lewis.

This is another title to feed my obsession with this topic. Read my profile if you're wondering what that's about.

But this subject is also research for my fiction WIP as the theme of belief, especially eccentric beliefs and thought systems, is a recurring one in my stories.


Kalila and Dimna : selected fables of Bidpai retold by Ramsay Wood ; illustrated by Margaret Kilrenny.

These are ancient fables and teaching stories translated from Sanskrit.

I sent for this after finding them mentioned in Doris Lessing's Time Bites. Same for The Panchatantra, translated from the Sanskrit by Arthur W. Ryder. For which I could find no cover image. Besides my library copy is so old its dust jacket has been long gone. It also tickles my eyes and throat every time I open it. I may have to resort to the websites I found devoted to The Panchatantra:



Idyll banter : weekly excursions to a very small town by Chris Bohjalian

I'm reading Bohjalian's The Double Bind this week and when I went looking in the library catalog for what others of his I've missed, I found this collection of short pieces from a newspaper column. All the titles were listed and one drew my attention: Loosing a Library and I sent for this just for that one as my own experience with having our library system lock its doors for six months a few years back has me extremely sensitized to the issue. In this case Bojalian's small town library had been flooded. Descriptions of the water and mud damaged books being piled in dumpsters was heartbreaking.

The good terrorist by Doris Lessing

One of the Lessing novels I've missed. I have had it checked out before but found it too disturbing at that time. But it is considered one of her most important in some circles. So I want to give it another try.

A truth universally acknowledged : 33 great writers on why we read Jane Austen edited by Susannah Carson; foreword by Harold Bloom.

Also part of that Great Jane A catalog hunt last month.

I blush to admit that I am practically a Jane Austen virgin. I read one or two of the novels between 8th and 12th grades in the 70s. I'd seen one or two of the movies and/or mini-series based on her novels and a video bio. I can't even be sure which of the novels I read though I'm fairly certain it was one or both of the three word ones--Pride and Prejudice and/or Sense and Sensibility. It may be hard to determine now since I've seen films adapted from both and so if, when I start reading one of them and recognize scenes, it may be hard to know if I'm remembering the book or the film. This may not make sense unless you realize that I store memories primarily visually and more often than not as images in motion rather than still shots.

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Tuesday, March 29, 2011

Hung Up on Hooks

no need bang hed on keybord  ai fownd teh hook fur ur storee?


ScriptFrenzy starts in about 48 hours and I've done little to prepare but think, daydream and watch videos. I was down on myself Friday for all the video watching in the last six months, blaming it for giving me my necessary story fix and taking the place of reading and writing. I still know that, as a writer, I need to bring the reading and writing of stories back into my life but I learned in the last few days there has been a tangible benefit to having immersed myself in filmed stories for months.

Last Thursday I received from the library four of the books on script writing I had sent for and as I've been reading and browsing in them I realized that the concepts and the references weren't as much of a garble as the last two years. I got the references to movies used as examples for a point. Sometimes I found myself thinking of other examples from something I'd seen recently.

For ScriptFrenzy this year, I'm planning to adapt Mobile Hopes my 2008 NaNoWriMo novel as a feature film with potential as a TV series with an ensemble cast. For the last few days I've been trying to create a logline and concept or hook in as succinct a way as possible. I do tend to the wordy. The novel or longish short story is more my forte.


Set in a mobile home park Mobile Hopes features the lives of a dozen or more separate families through the summer and fall of 2008. Each family is living its own crisis that is impacted by the current events of July through November. From the immigrant family hoping for citizenship to the family forced out of their foreclosed home in the suburbs hoping for another chance at the brass ring, they epitomize the American Dream and breathe life into the headlines.
The concept is to create a novel out of a collection of short pieces--short stories, vignettes--so that a weaving together of a community is witnessed through the eyes of at least a couple dozen individuals. Each individual is undergoing challenges and crisis that are exacerbated by the current economic crisis.

Now I need to pare all that down to a couple of short sentences. I would say DESPERATE HOUSEWIVES in a trailer park. But not only housewives are major protagonists. My story isn't that cynical either. Nor do I envision it as anything remotely like a soap. The flavor would tend toward NORTHERN EXPOSURE with a hint of TWIN PEAKS.

You can read a snippet from the novel in the same post linked and quoted above.

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Friday, March 25, 2011

Friday Forays in Fiction: Writers Write

A Writer Writes

Every since I signed up for Script Frenzy a couple weeks ago I've felt a Freakout slowly building up steam inside me. My story writing muscles have atrophied over the past several months. I've not written a word of narrative or dialogue since NaNoWriMo ended the last day of November. I've not even been reading that much of it either.

I have been getting my story fix by watching videos while crocheting.

I have been wearing a mental hairshirt and swinging razor tipped straps of shame over my shoulder trying to flay the laziness and fear off. Its not working.

I continue to send for more DVD from Netflix and the library as well as stream off Netflix. My brain is engorged with the stories. My dreams are movies made of a mishmash of the most recent videos I've watched spiced with scenes from my life past and present and pretend.

Sometimes as I'm waking from one of those mini-movie dreams I see a story whole, beginning, middle and end in a series of images but long before I'm able to get my netbook open it has faded.

Fifteen or so years ago when I saw the first laptop featured in a catalog I fixated on it as the solution to all my writing woes. If only I had that portable wonder I would always be able to capture those fleeting ideas, always be able to write on the fly whenever and wherever I happened to be. I pictured it beside me as I slept, rode in the car, dined in a cafe, lazed in a park, daydreamed in the library....

What I pictured has materialized but the wonder tool has been used for creative writing only some minuscule percent of the time I have it open. Fifteen years ago I never imagined all the other things I would come to depend on it for--from indispensable to distracting, from useful to essential to compulsive.

Games, movies, news, research, IM, email, photos, ebooks, blogging, social networks, LOLcats, record keeping, shopping... What did I leave out. I'm sure it was something. I'm so dependent (addicted?) to my netbook I feel bereft when I have to leave it behind for an hour to go to the dinner table and if I had my own home I probably wouldn't. But it isn't my writing that I'm missing when I'm separated from it.

I feel like a fraud.

Writer's write and I'm not writing.

April 1st is breaking sound barriers in its approach.

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Friday, March 11, 2011

Friday Forays in Fiction: Script Frenzy 2011



I'm in again. This will be year 3 for me. I've not won yet and seriously doubt I will this year either as I'm still a fumbling flubber at the script format not to mention the unique constraints of telling a story with image and sound only. I'm a novelist. I like to spread out on the page, get inside character's heads, be a little omniscient now an then.

In film the audience can only know what they see and hear and what they see and hear is more than 50% out of the script writer's control as the director, set designers, film editors and actors interpret and expand upon the skeleton of the story presented in the script.

One thing I might have going for me this year is the last several months of immersion in video watching averaging more than 20 hours a week and augmented by the watching of the special features like 'The Making of...' or 'Behind the Scenes..' whenever available. I've been getting something of an education in film making to complement and enhance the bit of scriptwriting technique I picked up while prepping for and participating in Script Frenzy the last two years.

In 2009 I tried to adapt my two short stories Of Cats and Claws and Curiosities and Making Rag Doll Babies and Million Dollar Maybes from my FOS storyworld. Last year I tried to develop a story from scratch though it was set in the same trailer park as my Mobile Hopes novel which was my 2008 NaNo project.

Well this year I'm going to set my story in that same mobile home park but my aim is to write a two hour pilot for a TV series with an ensemble cast. My working title will be Mobile Hopes but it will not be an adaptation of the novel. I'll use the work I did on character and setting but bring a fresh story to the page.

At Script Frenzy as at NaNoWriMo I am joywrite

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Friday, April 30, 2010

Friday Forays in Fiction: Script Frenzy 2010 Final Bell

Big fat paycheck : a young person's guide to writing for the movies
by Colton Lawrence.
New York : Bantam Books, 2004.
269 p.

ScriptFrenzy 2010 ends at midnight. Which is about three hours away for me.

I would recommend Colton's book for any beginner in script writing even though his target audience is young adults (middle school - middle twenties) it is chockfull of helpful advice for every step of the process of bringing a story to the the attention of the 'Big Fancy Hollywood Readers' from concept to marketing. I only widh I had read it a couple of months before ScriptFrenzy began so I could have had the benefit of the advice. But my turn for the library copy came a week into April.

If I were to measure the success of my ScriptFrenzy participation in number of pages of script I'd have to give myself a big, fat zero. But if i measure it by what I have learned and by the difference in the developed state of the story then I have nothing to be ashamed of.

Maybe, if racking up page numbers was primary for me, I should have done as I did last year and adapted from one of my finished short stories. But then I wouldn't have the story I did work on as far along as it is now.

Next year, if I participate in Frenzy again and if I decide to go with a new story then I will begin work on the development of the story weeks before April 1st. I will already have my characters created, named and sketched out, the scenes outlined and if possible a complete treatment written. That way I can focus on the mechanics of the script format.

I came to this conclusion as I reached the part of Colton's book this week in which he stresses the need to write the treatment or at least a good portion of it before writing the script. He says that making an outline of the scenes and then writing the story as a treatment helps highlight the holes in the story's logic.

But as I was reading that I realized that it would also mean that the story would be fairly complete and thus writing the script would be more like translating--more like the adaptation from a short story which I did for last year's Frenzy and which garnered me over 30 pages with little difficulty.

My inability to be in creative composition mode or storytelling mode simultaneous to being in script-writing mode may be because I'm not yet proficient in the mechanics of script writing format. It doesn't come natural with little thought like the typing I am doing at this moment along with the spelling and the forming of the sentences in my thoughts--all seamlessly working together so that the words seem to flow from my thoughts onto the screen.

I can not yet do that with the script format. I am wondering if this is all to do with my unfamiliarity--as with a foreign language--or is it at least partly to do with the script format naturally needing the editor side engaged which tends to short-circuit the muse. I keep teetering back and forth on an answer to that.

Because after all, once upon a time, back in kindergarten and first grade, the editor had to be engaged at the level of spelling the words. And right up through middle-school and into high-school the same was true for sentence and paragraph construction. So theoretically it must be possible for one to become so proficient in the script formatting conventions that they could write a script from scratch with as little thought about the margins and the capitalization and the tense and so forth as I now have for the spelling of 90% of the words in this post and the positions of the keys on the keyboard.

I'm definitely not there yet and I'm not sure I ever will be because I'm not sure I'm willing to put in the time it would take to get to that point. I read somewhere long ago and again recently that it takes 10,000 hours of practice at something to become proficient. I'm not sure learning script writing at this late date is worth that to me for it would mean taking those hours from the novel and short story WIP of which I already have more than I can possibly finish in what I have left of a normal life-span.

But though I may not want to devote the time and energy to become proficient I would still like to learn how script are written. It would add to my comprehension and appreciation of what I am seeing on the screen when watching films and who knows, maybe I would be able to offer valuable (and not clueless) input if one of my stories was ever adapted to the screen. :)

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