Scriptwriting Feng Shui (ii)

Here is the next in the series on scriptwriting Feng Shui. For the previous post in this series, click on feng shui in the labels cloud.

One of the key things we scriptwriters struggle with - particularly in the first draft of a script is getting the story from a to b and even to z, narrative momentum; the magic ingredient that keeps the reader turning the pages and (later when the script is made) the audience glued to their seats.

So what (aside from good writing) keeps a story moving? Scriptwriting manuals talk about how each scene must achieve at least four things (move story forward, reveal or develop characters, reveal emotions, give story info etc. And of course they are all right.

Here I'm going to look at the 'chi' or energy of the script. Remember this series is not about crafting tips - more 'alternative ways of thinking through scriptwriting' and trying to decipher the 'magic' of what works. The scene', 'the act' or 'the script' will not be discussed as separate entities but as 'a whole'.

Instead of narrative momentum - here's another word:

transference

'Transference' needs to take place within each scene/act and across the entire script. So what is transference?

Well transference also means (ex)change or conversion. In terms of scriptwriting it can refer to 'cause and effect'. Transference sums up the script rules for ensuring narrative momentum, mentioned above.

But most importantly transference describes the exchange of energies that needs to take place within the scene/act/ script - whether these are exchanges of emotions, twists of story direction or mutations of possibility.

If at the beginning, character A is angry and gets mad with B, then by the end of the scene, A must be calm and B must be mad. OK for most scriptwriters this is basic knowledge. But many make the mistake of thinking that having A get mad with B is a complete scene. It isn't because there is no transference.

OK for further illumination - here's a letter. What I like about the letter X (apart from its symmetry and the fact that it is the first letter of my daughter's name) is that it works as a pictogram to demonstrate transference. (For more info on pictograms - see previous post in this series.)

X

And maybe this will be helpful too:




Disclaimer

The use of feng shui to aid scriptwriting may not always be appropriate or useful.

Scriptwriting Feng Shui (i)

To make a change from the scriptwriting information (found all over the web) I thought I'd start an occasional series of unorthodox tips for scriptwriters. A kind of fun scriptwriting Feng Shui.

One of the things that scriptwriters struggle with - particularly in the early stages of writing (or sometimes when writing the treatment) is structure. The overall. The big picture. That's why everyone wants loglines and pitches so they can tell straight away if the idea 'works'.

Scriptwriting is often piecemeal, bitty - and, caught up in the writing, it's easy to lose sight of the whole - particularly if it hasn't been resolved from the outset. Or sometimes the difficult part is actually 'writing out' the way the story fits together - even after it has been 'resolved' in the mind. Maybe the film's central metaphor is there and for the writer, that's enough to be going on with. As Paul Schrader said 'metaphor is the structure'

Design and scriptwriting are not necessarily mutually exclusive disciplines. Script manuals talk of 'thinking pictures' or 'painting pictures for the blind' They don't often discuss 'space' (apart from white space on the script's page) or 'symmetry' or 'chi'.

So here's a straight forward approach to script structure for those who want to try it - using pictograms. Yes that's it. So what is a pictogram? Well it's a kind of simple diagram that represents something more complex. Here I'm suggesting using a pictogram to represent the structure of the script.

Ok first to get the idea - here are a few examples. These films may seem a bit dated or random - but other folk out there can always come up with (and even email me) more recent ones.
1.


This one is for SHALLOW GRAVE
'Three friends discover their new flatmate dead but loaded with cash'
Look again - see how the pictogram is a visual reference for the whole story

Triangular-type diagrams tend to be good for working out stories centred on three characters and triangular relationships:

The same pictogram could maybe be used for the classic RASHOMON. But the one below would probably be more suitable. 'A heinous crime and its aftermath are recalled from differing points of view' (the one below also references illusion/deceit)

2.
Or perhaps even this one?

3.
I'm sure you've got the idea.
Ok now what about this?
JOY LUCK CLUB - perhaps.
Circular linking narratives told round a dinner table. See it? Well perhaps the petals need to overlap a little more - but pretty near. Try your own

And if you want to have a really complex story structure there's always something like...

So what do you do with the pictogram? Use it as a reminder or a prod. You can stick it to the top corner of your PC or Mac before you start writing - see the structure as you write.

Disclaimer

The use of pictograms is not for everybody and, as an aid to scriptwriting may not always be appropriate, useful or possible.

Later.