Screenwriters should learn from Shakespeare: Language governs the action

There is no doubt that William Shakespeare’s Hamlet continues to be one of the most intriguing and highly analyzed plays ever written, and the protagonist Hamlet is arguably one of the greatest dramatic characters ever created. From the moment this disconsolate prince enters the scene the audience/reader is made acutely aware of his conflicted soul. This tragic hero is a walking dichotomy that provokes every sort of human emotion, and th-2

sets the stage for the revengeful plot to be carried out. Shakespeare uses the power of language to not only control the plot, but also to establish the storyline, reveal Hamlet’s varied complex character flaws, control fate, establish irony, and to govern the action of the play. Shakespeare brilliantly uses this character to hold the weight of the play with his dialogue, and reveal a vivid display of universal conflict within humanity.

Hamlet’s distress over his fathers death, his mother’s new-found marriage, and obvious distrust of the King are revealed with his entrance in Act 1, Scene 2 as he discourses with the Queen, his mother. However, his comment to the King is most insightful, when he reveals his suspicion and distrust. This comment reveals a lot, because Hamlet is not only displeased with his mother’s choice to marry so quickly after his father’s death, but it discloses Hamlet’s fermenting resentment.

King. Take thy fair hour, Laertes; time be thine,

And thy best graces spend it at thy will!

Hamlet. [Aside] A little more than kin, and less than kind. (1.1.62-65)

Perhaps one of the most dramatically revealing moments in Hamlet is with Hamlet’s famous soliloquy, “To be, or not to be.” Shakespeare introduces this during the middle of the play in Act 111, Scene 1. This moving and powerful monologue alerts the audience/reader that something grim is about to happen, as Hamlet uncovers his “sea of troubles.”

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Hamlet. To be, or not to be: that is the question: Whether ’tis nobler in the mind to suffer
The slings and arrows of outrageous fortune
Or to take arms against a sea of troubles,
And by opposing end them?—To die,—to sleep,—
No more; and by a sleep to say we end
The heartache, and the thousand natural shocks
That flesh is heir to,—’tis a consummation
Devoutly to be wish’d. To die,—to sleep;—
To sleep: perchance to dream:—ay, there’s the rub;
For in that sleep of death what dreams may come,
When we have shuffled off this mortal coil,
Must give us pause: there’s the respect
That makes calamity of so long life;
For who would bear the whips and scorns of time,
The oppressor’s wrong, the proud man’s contumely,
The pangs of despis’d love, the law’s delay,
The insolence of office, and the spurns
That patient merit of the unworthy takes,
When he himself might his quietus make
With a bare bodkin? who would these fardels bear,
To grunt and sweat under a weary life,
But that the dread of something after death,—
The undiscover’d country, from whose bourn
No traveller returns,—puzzles the will,
And makes us rather bear those ills we have
Than fly to others that we know not of?
Thus conscience does make cowards of us all;
And thus the native hue of resolution
Is sicklied o’er with the pale cast of thought;
And enterprises of great pith and moment,
With this regard, their currents turn awry,
And lose the name of action. (111.1.56-88)

Hamlet moves into a very dark, contemplative state, and exposes the flaws in his thinking, his conflicting views on death and nobility, his possible fate, and the recognition that he will have to do something about his own personal conflicts and the plague that looms over Denmark. This is a perfect example of Shakespeare’s use of language to drive the plot forward, establish conflict, reveal Hamlet’s disposition, and set the tone for the remainder of the play.

The Ghost is also an interesting character whose dialogue has a pivotal affect on Hamlet’s mental and emotional state and the fate of the play. By the Ghost revealing the truth about the circumstances surrounding Hamlet’s father’s death, he motivates Hamlet to commit murder, the ultimate revenge, and lose his soul!

Ghost. My hour is almost come,

When I to sulphurous and tormenting flames

Must render up myself.

Hamlet.   Alas, poor ghost!

          Ghost. Pity me not, but lend thy serious hearing

To what I shall unfold.

Hamlet. Speak; I am bound to hear.

Ghost. So art thou to revenge, when thou shalt

hear.

Hamlet. What?

Ghost. I am thy father’s spirit;

Doom’d for a certain term to walk the night,

And for the day confined to fast in fires,

Till the foul crimes done in my days of nature

Are burnt and purged away. But that I am forbid

To tell the secrets of my prison-house,

I could a tale unfold whose lightest word

Would harrow up they soul, freeze thy young blood,

Make thy two eyes like stars, start from their spheres,

Thy knotted and combined locks to part

And each particular hair to stand an end,

Like quills upon the fretful porpentine:

But this eternal blazon must not be

To ears of flesh and blood. List, list O, list!

If thou didst every thy dear father love—

Hamlet. O God!

     Ghost. Revenge his foul and most unnatural murder.

     Hamlet. Murder! (1.5.7-26)

Not only does this speech reveal background, and feed Hamlet’s rage, it unlocks a thick unsettling within the plot of this play. Is the Ghost used by Shakespeare to create a diabolical manifestation that lures Hamlet into a fated doom? The dialogue certainly plays an intricate part in plot development and discloses the power of choice existent in every man. Is Hamlet’s madness self-induced? The language in this play is a powerful tool that helps impart Shakespeare’s theme within the play.

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Whiplashed Times Three

I’ve now watched the movie Whiplash three times, and I see clearly why Rotten Tomatoes gave it a 94% rating. The movie is riveting, intense, and well-acted.

Academy Awarded for Best Performance by an Actor in a Supporting Role (J.K. Simmons…he’s incredible), Best Achievement in Film Editing, and Best Achievement in Sound Mixing. It not only won 3 Oscars, it received 96 other nominations with a total of 90 wins.

Reviews:
Beat the drums for a Simmons Oscar, and add a cymbal crash for Whiplash. It’s electrifying.– Peter Travers·Rolling Stone

More Full Metal Jacket than Dead Poet’s Society, the film is an epic battle of wills between two fanatical artists, one doing everything in his power to painfully make a master out of the other.– A.A. Dowd·A.V. American Kennel Club

Indeed, Whiplash is a dramatization that takes everything to extremes, which makes a great platform for the actors. The relationship between Fletcher, the drumming instructor (J.K. Simmons and the hungry student, Andrew Neiman (Miles Teller) is not just intense, it’s incredibly engaging, and one of the major focuses in the storyline.  The final scene is a wonderful culmination of the power-play and rather twisted relationship between the two, all wrapped up in an incredible drumming solo.

Rated R for violence and language content

If you’re a music/jazz lover, this is a great flick to see.

16135968997_1a9e1aa241_bWHIPLASH1

Let’s talk about connecting to the audience — Why is this important?

Greetings Everyone!

I will be teaching a Webinar for the Writers Store on Thursday, June 25, 2015 1:00 PM / 4:00 PM ET
The Audience’s Connection to a Screenplay: Engaging through Conflict

Screenwriters sign up now for my webinar on June 25 on writing engaging conflict. Use the code CARLA20 to save 20%  bit.ly/EngagingConflict 

At a Glance

Whether you are a novice, intermediate or seasoned screenwriter, this webinar will fuel you with insightful and important information to help you create a story with universal appeal.
Gain a deeper understanding about the fundamental importance of conflict in a screenplay.
Learn how conflict affects the pacing of your story, helps develops your main character, and connects the audience to the hero.

Please note: If you purchase any webinar, you will get a recorded version of the webinar sent to you after the presentation day. So if you can’t attend live, you will still get all the materials.

ABOUT THE WEBINAR

Screenwriting is a rigorous process, and for a story to work in this medium the audience must connect to the hero – you must make the audience care! However, this does not come about by giving your character good personality traits. The audience needs to see strength in overcoming; they need to see “reality” through conflict.

Carla’s passion for storytelling begins with her connection to the journey of the hero, and for an audience to root for a hero; there must be a relationship with the character based on weakness and character defect. With a background in the dramatic arts, and English literature, Carla will share with you her process for creating relatable, “realistic” characters through the use of conflict.

Discover why so many scripts fail at the get go, how good characterization is based more on weakness and need than personality traits, and how both internal and external conflict is used to move the story forward and bring the hero to transformation.

WHAT YOU’LL LEARN:

How conflict helps to deepen the main character
How conflict works in a storyline
About the many faces of conflict
Why audiences must have a connection to the hero
How to make your audience “care” about the hero
The importance of dramatic tension and how it works with the hero
The essence of storytelling, no matter what the genre
The importance of universal appeal

WHO SHOULD ATTEND?

Screenwriters who want a story that connects to the audience
All-level screenwriters
Screenwriters who want a better understanding of dramatic conflict and how it is used in the story
Screenwriters who want to expand their writing skills
Screenwriters who want to impress readers and (hopefully) sell their scripts

Participate Live or Watch Later

This webinar includes both access to the live webinar where you may interact with the presenter and the recorded, on-demand edition for your video library. Each registration comes with access to the archived version of the program and the materials for one year. You do not have to attend the live event to get a recording of the presentation. In all webinars, no question goes unanswered. Attendees have the ability to chat with the instructor during the live event and ask questions. You will receive a copy of the webinar presentation in an e-mail that goes out one week after the live event. The answers to questions not covered in the live presentation will be included in this e-mail as well.

BONUS: With purchase of this webinar, you will receive $79.99 off of a yearly subscription to the Screenwriting Tutorials website, which has specialized tutorials from experts that explore screenwriting topics covered nowhere else on the web!

SYSTEM REQUIREMENTS: This webinar will be broadcast using GoToWebinar. To see if your system is compatible with GoToWebinar, please review this page, which lists the system requirements for the software.
Meet the Author: Carla Iacovetti

Carla Iacovetti is a published writer, awarded poet, and screenwriter. She has authored more than a half dozen screenplays, and her poetry is featured in over a dozen anthologies. Carla, who works as a freelance writer, script editor, ghostwriter and copywriter, is also a regular feature writer for the Ventura County Reporter and is a screenwriting instructor at Santa Barbara City College Center for Lifelong Learning.

SIGN UP HERE: The Audience’s Connection to a Screenplay: Engaging through Conflict
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Do you want to write a screenplay?

Greetings Everyone! 

I will be teaching a Webinar for the Writers Store on Thursday, June 25, 2015 1:00 PM / 4:00 PM ET

The Audience’s Connection to a Screenplay: Engaging through Conflict

At a Glance

  • Whether you are a novice, intermediate or seasoned screenwriter, this webinar will fuel you with insightful and important information to help you create a story with universal appeal.
  • Gain a deeper understanding about the fundamental importance of conflict in a screenplay.
  • Learn how conflict affects the pacing of your story, helps develops your main character, and connects the audience to the hero.

Please note: If you purchase any webinar, you will get a recorded version of the webinar sent to you after the presentation day. So if you can’t attend live, you will still get all the materials.

ABOUT THE WEBINAR

Screenwriting is a rigorous process, and for a story to work in this medium the audience must connect to the hero – you must make the audience care! However, this does not come about by giving your character good personality traits. The audience needs to see strength in overcoming; they need to see “reality” through conflict.

Carla’s passion for storytelling begins with her connection to the journey of the hero, and for an audience to root for a hero; there must be a relationship with the character based on weakness and character defect. With a background in the dramatic arts, and English literature, Carla will share with you her process for creating relatable, “realistic” characters through the use of conflict.

Discover why so many scripts fail at the get go, how good characterization is based more on weakness and need than personality traits, and how both internal and external conflict is used to move the story forward and bring the hero to transformation.

WHAT YOU’LL LEARN:

  • How conflict helps to deepen the main character
  • How conflict works in a storyline
  • About the many faces of conflict
  • Why audiences must have a connection to the hero
  • How to make your audience “care” about the hero
  • The importance of dramatic tension and how it works with the hero
  • The essence of storytelling, no matter what the genre
  • The importance of universal appeal

WHO SHOULD ATTEND?

  • Screenwriters who want a story that connects to the audience
  • All-level screenwriters
  • Screenwriters who want a better understanding of dramatic conflict and how it is used in the story
  • Screenwriters who want to expand their writing skills
  • Screenwriters who want to impress readers and (hopefully) sell their scripts

Participate Live or Watch Later

This webinar includes both access to the live webinar where you may interact with the presenter and the recorded, on-demand edition for your video library.  Each registration comes with access to the archived version of the program and the materials for one year. You do not have to attend the live event to get a recording of the presentation. In all webinars, no question goes unanswered. Attendees have the ability to chat with the instructor during the live event and ask questions. You will receive a copy of the webinar presentation in an e-mail that goes out one week after the live event. The answers to questions not covered in the live presentation will be included in this e-mail as well.

BONUS: With purchase of this webinar, you will receive $79.99 off of a yearly subscription to the Screenwriting Tutorials website, which has specialized tutorials from experts that explore screenwriting topics covered nowhere else on the web!

SYSTEM REQUIREMENTS: This webinar will be broadcast using GoToWebinar. To see if your system is compatible with GoToWebinar, please review this page, which lists the system requirements for the software.

Meet the Author: Carla Iacovetti

Carla Iacovetti is a published writer, awarded poet, and screenwriter. She has authored more than a half dozen screenplays, and her poetry is featured in over a dozen anthologies. Carla, who works as a freelance writer, script editor, ghostwriter and copywriter, is also a regular feature writer for the Ventura County Reporter and is a screenwriting instructor at Santa Barbara City College Center for Lifelong Learning.

SIGN UP HERE:   The Audience’s Connection to a Screenplay: Engaging through Conflict

What’s up with universal appeal?

So, you want to write a screenplay that has universal appeal (don’t we all)?

There are a couple of major things you need to focus on for that to happen:  Your plot and the reason for action.
According to Aristotle, “The life and soul of all drama (tragedy) is the plot,”  and action is related to the want and need/goal of your main character.  In other words, let’s say your protagonist desires or needs love.  His or her need is going to drive him or her to respond or act according to the need.  Micheal Tierno, in his book Aristotle’s Poetics for Screenwriters says, “When a strong desire of a hero relates to all of the action, then the plot can depict a simple ‘portrait’ of the hero.”

So, often times, action is a emotional response of the character’s need or want.  For example:  Remember the movie Cocktail (1988), which starred Tom Cruise and Elizabeth Shue?  Let’s look at the storyline.  Brian Flanagan has just gotten out of the service and wants to make money.  He wants his own business, but after being turned down in several job interviews for lack of education, he takes a job working as a bartender.  His need for money pushes him to take a job that he’s really not excited about.  However, his need produces continued actions (chains of events), to include traveling to Jamaica to work as a bartender at an upscale resort, and meeting Jordan Mooney, the seeming love of his life. His boss, Doug Coughlin also wants to own his own high-end bar, so the two come up with a game-plan.  Once again, this flawed protagonist has an agenda, and his need gives rise to action, pushes the plot forward and will eventually guide the story to resolution.

(Tom Cruise- Brian Flanagan in Cocktail, 1988)

Universal appeal is important because for an audience to relate to a character or story there must be a relationship with the character and the storyline.  So, when Brian Flanagan’s business partner (the antagonist) puts him to a dare, we (the audience) feel bad for him, because it seems like all is lost.  We’ve all been there.  Desire and need are powerful things.  We somehow relate to his plight, his frustration, his turmoil, and that is universally appealing.

Is universal appeal important?  You betcha!  Life is a journey, and we are all a part of it.  For an audience or reader to relate to a character, there must be character traits, familiar moments that we’ve walked through or witnessed.  We know how this character feels because we’ve been there and done that!

According to Aristotle, “A plot must include causes of the action that can arouse the audience’s deepest pity and fear [or laughter and tears]. This means the audience must understand the hero’s thoughts and see those thoughts becoming actions, which in turn reveal a moral quality (character) of the hero.”

Just a little writing tip, in case you’re in the midst!

I am available for online, one-on-one, script coaching.   Click here: Script coaching online

Reference:  Aristotle’s Poetics by Michael Tierno

What the heck does your character want?

Simply stated, want produces action.  Think about it…If you suddenly developed a toothache, what would you inevitably end up doing?  You’d call your dentist.

Here’s a good question to ask yourself when your creating a main character.  What is the inciting incident established for the main character?  You know…something that must be gotten or achieved.  Something that the character believes will ultimately make his or her life better.

Here are some examples of (obvious) external goals: money, love, career promotion, the love of a child or family member, etc.

Whatever this goal is, your protagonist must feel that this goal is essential to his or her life, and the audience must see that the character will suffer or loose out “if” he or she does not achieve this goal.  This connection is paramount between the main character and the audience.  If it’s not there, you might lose your audience along the way.  The character won’t be compelling and the audience won’t want to root for him or her.

Photo: Office Space Movie

Milton’s worried about his red stapler…but that’s just the beginning.

Just a little writing tip, in case you’re in the midst!

I am available for online, one-on-one, script coaching.   Click here: Script coaching online

The Shoe Fits! Disney’s Cinderella Triumphs!

It’s not easy to successfully remake an age-old fairy tale, and particularly one as renowned as Cinderella, but once again, Disney triumphs.

First of all, choosing Kenneth Branagh to direct this live action version of their original animated film (1950) was a terrific decision – it’s hard to go wrong with the talented and famed actor, director, producer and screenwriter from Belfast, Northern Ireland. Undoubtedly, his understanding of both story and character arc, especially as related to his pronounced knowledge of Shakespeare can be seen in his ability to re-visit and revise this classic tale. In addition, Branagh was trained as an actor at the Royal Academy of Dramatic Arts, and has acted over the span of his career. Since he has been on both sides of the fence, it gives him some advantages because he’s connected to the audiences perspective, and this makes for powerful directing.

ellaThis updated version of the classic story is fresh, sweet, sometimes amusing and altogether lovely. While screenwriter, Chris Weitz sticks to the over-all original version, he does throw in a few nice surprises, such as the opening scene where Prince             Charming (Richard Madden…he’s incredibly charming) and Cinderella (Lily James) meet on horseback.  Cinderella is wonderfully engaging, charming, sincere, trusting and quite down-to-earth. There is nothing magical about her character, in fact, there is a wonderful message of strength of character that emanates to audiences of all ages. She’s not a victim, nor is she feeble — she stands strong. Cinderella is refreshingly real. She holds fast to memories of a happy time when her parents were alive, and rather than give way to anger or bitterness as a result of harsh life circumstances, she matures and her beauty radiates from the inside out. Cinderella recalls her dying mother’s instructions to, “Have courage and be kind,” and this becomes her life refrain, whether it’s in the way she connects to animals and or responds to Lady Tremaine, her cruel and calculating stepmother (Cate Blanchett), or in her interactions with her two vain, argumentative and imprudent stepsisters, Drisella and Anastasia (Sophie McShera and Holiday Grainger).

One of the most powerful things in the story is the way loss is perceived and dealt with by most all of the main characters. As a young girl, Cinderella looses her mother, and then   later on, after her father has remarried, he suddenly dies while he is away on a business trip, leaving her orphaned. We later learn that the King is ill, and Prince Charming…otherwise known as Kit, is about to lose his father and become king. Interestingly, Lady Tremaine confesses that she too lost her true love, and her bitter, jealous, angry response to loss is juxtaposed against Cinderella’s commitment to kindness – it really is all about choice, and according to Cinderella’s mother, having courage and kindness is a secret that will “see her through all the trials that life can offer.”

Instead of the typical “evil” stepmother as one would expect, Lady Tremaine is far more realistic. Granted, she is calculating, cruel, malevolent and abusive, but this antagonist is not the typical Disney villain. She is actually more believable, and for a brief moment, we don’t see hatred at the helm of her cruelty, but the need to provide for her two daughters and Cinderella is a rival.

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In a brief moment of weakness, when Cinderella faces her dark night of the soul, her Fairy Godmother (Helena Bonham Carter) magically appears on the scene and Cinderella’s world changes.  Carter is sassy and delightfully ditzy, introducing herself as Cinderella’s “hairy dogfather,” and then reassures Cinderella that she’ll find the jaw-dropping glass slipper “really comfortable.”

A fabulous cast, a fabulous director and superb writing are at the helm of this remake, and that’s only the beginning. Dante Ferretti’s set designs are nothing short of spectacular and Sandy Powell’s costume designs are simply amazing — in fact, they’re completely flawless.

It’s no wonder Rotten Tomatoes gave Cinderella an 84% rating. Both my thumbs are up!  Oh, and ladies — make sure you take some tissue.