scriptwritting

HSC Guidelines Understanding the medium Script Analysis Selecting subject matter Developing the idea Sequencing Visualising a performance space First draft Hints for writing Redrafting Workshopping the script Formating and conventions Editing and proofreading

Final Product This project will involve writing a script for a complete play for live performance. Students should work within the parameters of this project. Scripts significantly under length will be penalised and material that exceeds the stipulated length will be disregarded. The project will include: a 300-word rationale  a script for a complete play which is of approximately 15 minutes running time or 15­25 pages. stage directions in sufficient detail to show the practicability for a live production scriptwriting conventions such as character/role list and dialogue formatting. The script must be typed on A4 size paper with double spacing in Times New Roman 12 point. Criteria Individual Project: Scriptwriting (30 Marks) For the Individual Project: Scriptwriting, a mark out of 10 is awarded for each of the three criteria, giving a total mark out of 30. Criterion 1: Concept Originality, clarity and integrity of the script in its concept. Stylistic and thematic coherence of the script. Effectiveness in the treatment of characterisation appropriate to the style. Criterion 2: Realisation Effective handling of dramatic elements such as dramatic images, dramatic focus and tension. Development of clear dramatic action. Effectiveness of the script for an audience and for actors. Criterion 3: Conventions and practicalities Use of scriptwriting conventions such as layout, character list, dialogue formatting, stage setting, directions and effects. Practicality for production such as scene and costume changes, venue style and size of production, cast size, scenic and technical effect.

Understanding the medium

Before scriptwriting can begin students should familiarise themselves with the medium. Students should read a range of scripts and particularly recent Australian works. Students should analyse scripts in various ways. Here are a few guidelines:

Script Analysis

• Conventions
  • Character lists, stage directions, dialogue, print formating, author's notes, production notes.
    
    
• Structures
  • How is the play organised?
    
    
• Dialogue and images
  • How do the verbal and the visual work together to tell a story ?
    
    
• Characters
  • How are they introduced, revealed, their relationships, their progress through the piece?
  • How does the dialogue reflect their character ?
    
    
• Stage directions
  • How do they contribute to the audience's understanding ? A play is not just dialogue.
    
    
• Theatrical techniques
  • Use of different methods to present the action e.g. symbols, props, rituals and music.

Examples of each of these elements could be collected and included in the logbook to be used later as possible models.

Selecting subject matter

Once students are becoming familiar with the conventions, the search for the body and soul (contents) of the script begins.
This process includes:

• brainstorming
  • topics
  • themes
  • scenarios
  • characters
  • relationships
    
    
• collecting newspaper articles, short stories, poems, songs, magazines, letters, news reports, pictures or photos of people.

Look for the original, innovative ideas.

Developing the idea

After the subject matter, choose:

• Who: the characters and their relationships.
• What: the key dramatic event: this needs to be central to the action.
• Where: the play's setting (the place).
• When: the play's setting (the time).
• Endings: the plays resolutions, closures or conclusions.

Sequencing

Write a synopsis of the story line and action in about ten lines.
Break the synopsis into a sequence of events. These may eventually each become separate scenes in the play.

Visualising a performance space

Scriptwriting for theatre requires the writer to visualise the play's action taking place in a performance space. It should be a space that is familiar to the writer and appropriate to the style and requirements of the play.
As the play develops, clear instructions on setting, stage directions and production effects are required. The writer will need to consider the logistics of staging the production.

First draft

Begin writing dialogue for the opening scene (the first event in the sequence). At first it may be stilted, cliched and fragmented, but as the writing progresses and the action unfolds, a rhythm will develop.
Good dialogue will:

• move the story forward
• communicate information to the audience
• reveal character and relationships
• reveal the emotional states of the characters
• comment on the action

Hints for writing

When the action should focus largely on only a few characters. This allows for central characters to be fleshed out and developed.
Keep the script clear and direct. Don't let scenes become too wordy.
Look for alternative ways of presenting ideas or action. It may be a silent scene, a symbolic gesture or the use of a prop.
Emphasise the visual as much as the verbal. Use interesting stage directions to create tension, comic or ironic moments.
Use language appropriate to the characters. This may require extra research if it is a historical play.
Avoid writing material which copies other writers ideas.
Where possible, use settings familiar to the writer. Write about what is known. Research any unfamiliar settings used.
Keep a copy of the first draft in your logbook.

Redrafting

Use a process writing approach. Redrafting will occur in conjunction with conferring with friends, family, teachers and advisers.
Workshopping scenes and walk through readings are essential from this point.
With the hints for writing (above) in mind, each scene should be closely scrutinised and alterations made.
The central criterion : What does each scene contribute to the play as a whole?

Workshopping the script

This is an essential element in scriptwriting to ensure the play's dramatic qualities are realised through actions and images, rather than through dialogue alone.
Workshopping could occur with other students, such as Year 9 and 10 drama classes. An audience reaction may be helpful in this process.
Readings with Year 11's and discussions following will also be useful.
At some point the play will need to be run in its entirety to ensure that set changes and timing are accounted for within the script.

Formating and conventions

After a number of redrafts the finer details will have to be polished.
These include:

• Print format
  • Character's names: Bold with
  • Directions: either in brackets or italics
    
    
• Acts and scene numbering (if appropriate)
  
  
• Other essential information:
  • Character list (which may include brief descriptions)
  • Settings in detail, props, lighting, music and costume
  • Details of the performance space envisaged
  • Author's notes explaining background to the play, particularly if the play is an adaptation or based on a real event.
  • Bibliography, material and advice used.
    
    
• Page numbering.

Check length of script after formating (15-25 A4 pages in double line spacing)

Editing and proofreading

Present final draft in publication format, not in a plastic display folder.
Ensure all essential information is included.
Check that presentation meets original guidelines.
Logbooks should include all drafts and show the step by step process from beginning to end.
Acknowledgment should be made of any sources. In the case of an adaptation of a novel, a synopsis must be included in the logbook.