1. In my 2 hour I am most satisfied with the information I gave. A lot of people came up to me after and said they learned a lot- which feels really good. I am also pleased with the cohesiveness, it all came together well (I mean the classroom theme and my presentation etc.) For senior project overall I am actually more pleased with everything I learned from science fair. Why am I surprised by that? Because I thought it was a failure at first. I couldn't get research/data and so I couldn't disprove or prove my hypothesis BUT thank gosh it happened that way! My scramble for answers ended up being an intensive-self-taught-course in the abominable film industry. Needless to say, I learned a heck of a lot of information that I will need to know in my CAREER.
2. I would give my 2 hour an AE. :)
I think I deserve that grade because I TRULY went above and beyond this time. I did everything I was supposed to in the rule book, then I converted the classroom into a make-it-yourself home theatre, I made my theme tie in with my powerpoint (even my poster tied into my theme!), I had really relevant activies, spoke with conviction and passion, and, most importantly, even when I ran out of bulletpoints to reference to I kept on talking and explaining and coming up with examples on the spot just to make sure we were all on the same page. I made it a priority that all the students understood every answer as much as I do. I understand my topic thoroughly enough to be able to do so. SO scratch that I'd give that mama jama an E!
I think my senior project deserves an AE as well. I have never put so much time and effort into a project before. In addition to the hours I do in ROP I have spent well over 60 hours doing both independent components. I have walked away from the project knowing not only how to write screenplays but how to read them. Which is incredibly important if I am to be filmmaker because the whole point of making films is to tell a story and if you can't tell a ggod one from a bad one then even luck won't save you. Everything I did was with the best intentions, and even when my components went awry (science fair) I spent blood, sweat, and tears trying to resolve it and even when I couldn't I still found value in the mishaps. All of blog posts were done on time and I never mickey moused them or any other component of my project. I spent a lot of time just trying to get quality research, I ran into many challenges and never let that hinder my pursuits. I spent extra time reading other blogs, posting other posts, and keeping a consistent theme here. I have read over 20 screenplays and written five shorts. I am producing one of my shorts at the moment actually. I went out of my way to get quality interviews (3 hours of traffic and a parking ticket!), one with a well established professional screenwriter. I registered my original screenplay with the WGA. I had more than 75 articles in my Research Binder. I have gone above and beyond in my Senior Project.
3. What worked for me? I think not being in a group worked for me. I don't hate groups. I have had some great groups, and a lot of bad ones and I know when it works it works and when it doesn't life sucks and you try your best to resolve the situation by stepping up to the challenge. But I liked the independence, the responsibility, and the pride that comes from work that is completely your own.
4. Well, nothing exactly went smoothly. I think this project was the most stressful, for sure. Not only did the work load get a lot heavier but the other things that come along with being a senior: car problems, college courses, college apps- OH MY GOD college apps! You know, first job and growing up sort of stuff? So it was just really stressfull but at the same time it feels really good right now to have accomplished everything. And it wouldn't be as satisfying if it had been any less stressful. Honestly, I hated every minute of it. But now that it's done, I feel so much better about going off to college and the work load and the responsibilities and my aspirations... because I KNOW that I'm prepared.
5. I think I've always known that I want to go into film. But I spent the last 5 years talking myself out of it, and denying that it's what I want. I chose film as my topic because I just didn't want to be bored. Now, I know what I want and it doesn't matter that it's so unlikely, I don't care what people think of it, I want to be a filmmaker. I want a darn academy award and I want to tell stories- good ones. I love it. Why? I don't know, it's like magic to me. And I don't know how a year long project on screenwriting has given me the confidence to be able to say this to you. But it has. I am not really walking away from this project... it's just the beggining. Thank God I came to I-poly.
Wednesday, May 30, 2012
Friday, May 11, 2012
Quote of the Day
"I wish I knew how to quit you."
-Jack Twist
From the screenplay of Brokeback Mountain
-Jack Twist
From the screenplay of Brokeback Mountain
Thursday, May 10, 2012
Service Learning
Literal:
For my log of hours click here.
I have completed 165 hours thus far for ROP film/video production. Below is evidence from Michelle Parker who has been keeping track of my hours.
For my log of hours click here.
I have completed 165 hours thus far for ROP film/video production. Below is evidence from Michelle Parker who has been keeping track of my hours.
To: Senior Team
Re: Service Learning Hours for Inez Franco
Inez has completed 165 hours in her Film/Video Production class as of 5/3/2012. There will be additional hours yet to be completed, as class does not end until the end of May.
If you have questions regarding this, please feel free to contact me.
Sincerely,
Michelle Parker, M.S.C., PPS
Career Counselor
You may also contact Mr. Miller, my ROP instructor, at philmworks@ca.rr.com.
My duties in ROP include; editing, filming, screenwriting, homework assignments, creating sets and props, and everything else that has anything to do with filmmaking- like group work!
Here is some of my work
Interpretive:
The most important thing I've gained from my experience with ROP is my certificate. After 'graduating' the class I will recieve a certifcate for filmmaking- it basically means I know what's going on. Which is great in the filmmaking world! Because a lot of people don't know what's going on- on set that is.
Applied:
My science project, my research, my independent components and all my other components were centered around answering my EQ. ROP gave me a great source- Mr. Miller- to go to for help on these projects. He helped me understand the difficulties with my science fair project. Guided me through the script breakdown. And most importantly he gave me feedback on my own original screenplays for Independent Component 2. ROP was a great resource.
My service learning allowed me to excercise screenwriting. Being able to do that allowed me a closer glimpse at answering my EQ. I got to learn the ropes.
This all helped me answer my EQ becuase I had someone to go to. Someone to answer my questions. An insider to the world of filmmaking- that's pretty legitimate.
My service learning allowed me to excercise screenwriting. Being able to do that allowed me a closer glimpse at answering my EQ. I got to learn the ropes.
This all helped me answer my EQ becuase I had someone to go to. Someone to answer my questions. An insider to the world of filmmaking- that's pretty legitimate.
Thursday, April 26, 2012
Wednesday, April 25, 2012
Independent Component 2
Log of hours:
Evidence of 30 hours of work:
Literal
I, Inez Franco, affirm that I completed my independent component which represents 50 hours of work.
I researched how to write screenplays, how to sell screenplays, whether or not to seek representation or just a deal, I used old notes and took new notes on my essential question and searched for examples of how it has been used in real screenplays, I read screenplays, I applied my answers to both ROP screenplays and my original screenplay, and of course I wrote my own screenplay.
Interpretive
This Independent Component bears great resemblence to my first one but it's completely different in the interpretive!
The first screenplay I wrote, and the research I was doing with the screenplays I was reading was to look for something they all had in common and try to emulate that quality in my script.
Here, in the second go around I already have my three answers. So what I did with my research was accumulate it and search for examples of my answer being put to the test in real screenplays.
After I did all that I took my first screenplay "Eugene's Abyss" and I ripped it apart to the bare bones and then applied my answers to it. I was testing all of the three- four at the time- answers, in order to see which was the most helpful in improving my own screenplay.
Applied
After testing all four answers: Write with a voice, Throw theme out the window, Seduce reader in the first ten pages, and invest in your protagonist I have found my best answer.
I effectively threw out the idea of theme and it helped! I got through the script! It has an ending and ironically it has one with a theme- that came OUT of the story. But getting through the screenplay is not the same as writing a successful screenplay.
Then I invested a lot of time and used lots of scenes/motivations/desires/reflection characters for my protagonist. And that helped too! My hero was a well developed hero! But even with a thematic ending and a strong hero, I still didn't have a screenplay I was willing to try to sell.
So after that I spent a lot of time writing and rewriting the first 2 pages (because in a twenty page script page two is at the 10% mark) and I finally wrote a beginning that I was satisfied with and that I think would catch people's attention! It was awesome. I felt like I really was improving my screenplay little by little. All the hard work was paying off!
But something was just missing... and I knew what it was.
Voice!
Through out the whole process I'll admit I have been trying really hard to get the writing to sound commanding, evocative, and seducing. I wanted to put voice in there so bad!
BUT VOICE IS NOT SOMETHING YOU CAN JUST... JUST WRITE. No... voice is a reflection of experience in writing and comfort in your writing, it's not something you teach or something you can learn. You know how some people are just great writers? Those people have voice. And the more and more you practice it the better it gets, of course.
Well I couldn't just make voice come out in the screenplay. I'm not saying I can't write! No no no. I can. I grasped my voice in the third interview and in my defense paper in 11th grade and in my college essays. Voice is what got me into NYU. But sometimes you write awesome papers and sometimes you don't. Here I just couldn't get my voice in the script. It's whats missing and it's what making me self-conscious about the script...
The best way to write a successful screenplay is to write it with voice. I've never been more certain!
Evidence of 30 hours of work:
 |
| Research |
 |
| Screenplay specifically for Independent Component 2 |
Literal
I, Inez Franco, affirm that I completed my independent component which represents 50 hours of work.
I researched how to write screenplays, how to sell screenplays, whether or not to seek representation or just a deal, I used old notes and took new notes on my essential question and searched for examples of how it has been used in real screenplays, I read screenplays, I applied my answers to both ROP screenplays and my original screenplay, and of course I wrote my own screenplay.
Interpretive
This Independent Component bears great resemblence to my first one but it's completely different in the interpretive!
The first screenplay I wrote, and the research I was doing with the screenplays I was reading was to look for something they all had in common and try to emulate that quality in my script.
Here, in the second go around I already have my three answers. So what I did with my research was accumulate it and search for examples of my answer being put to the test in real screenplays.
After I did all that I took my first screenplay "Eugene's Abyss" and I ripped it apart to the bare bones and then applied my answers to it. I was testing all of the three- four at the time- answers, in order to see which was the most helpful in improving my own screenplay.
Applied
After testing all four answers: Write with a voice, Throw theme out the window, Seduce reader in the first ten pages, and invest in your protagonist I have found my best answer.
I effectively threw out the idea of theme and it helped! I got through the script! It has an ending and ironically it has one with a theme- that came OUT of the story. But getting through the screenplay is not the same as writing a successful screenplay.
Then I invested a lot of time and used lots of scenes/motivations/desires/reflection characters for my protagonist. And that helped too! My hero was a well developed hero! But even with a thematic ending and a strong hero, I still didn't have a screenplay I was willing to try to sell.
So after that I spent a lot of time writing and rewriting the first 2 pages (because in a twenty page script page two is at the 10% mark) and I finally wrote a beginning that I was satisfied with and that I think would catch people's attention! It was awesome. I felt like I really was improving my screenplay little by little. All the hard work was paying off!
But something was just missing... and I knew what it was.
Voice!
Through out the whole process I'll admit I have been trying really hard to get the writing to sound commanding, evocative, and seducing. I wanted to put voice in there so bad!
BUT VOICE IS NOT SOMETHING YOU CAN JUST... JUST WRITE. No... voice is a reflection of experience in writing and comfort in your writing, it's not something you teach or something you can learn. You know how some people are just great writers? Those people have voice. And the more and more you practice it the better it gets, of course.
Well I couldn't just make voice come out in the screenplay. I'm not saying I can't write! No no no. I can. I grasped my voice in the third interview and in my defense paper in 11th grade and in my college essays. Voice is what got me into NYU. But sometimes you write awesome papers and sometimes you don't. Here I just couldn't get my voice in the script. It's whats missing and it's what making me self-conscious about the script...
The best way to write a successful screenplay is to write it with voice. I've never been more certain!
Tuesday, April 24, 2012
Helping 2013
Friday, April 20, 2012
Tuesday, April 17, 2012
Answer #3 (part two)
EQ: What is the best way to write a successful screenplay?
Answer: The best way to write a successful screenplay is to throw theme out of the window.
Evidence:
1. Theme grows out of story. Story does not grow out of theme.
2. Theme is cerebral, desire is emotional, and art is emotional.
3. If you start with theme then your writing is limited, like trying to work around proving a point your story becomes more of an argument and a thesis than anything else. This kills the surprise and delight that makes the movie experience.
Source: Hal Ackerman, co-chair of the screenwriting program at UCLA and author of Writing Screenplays That Sell.
Answer: The best way to write a successful screenplay is to throw theme out of the window.
Evidence:
1. Theme grows out of story. Story does not grow out of theme.
2. Theme is cerebral, desire is emotional, and art is emotional.
3. If you start with theme then your writing is limited, like trying to work around proving a point your story becomes more of an argument and a thesis than anything else. This kills the surprise and delight that makes the movie experience.
Source: Hal Ackerman, co-chair of the screenwriting program at UCLA and author of Writing Screenplays That Sell.
Sunday, April 15, 2012
Answer #3
EQ: What is the best way to write a successful screenplay?
Answer 3: The best way to write a successful screenplay is to seduce the reader/audience in the first 10 pages, or at the 10% mark.
Evidence: 1. When you're trying to sell your screenplay it is already hard to get someone to even open it, let alone read it. So it essential to seduce the reader so that they will continue to read through the rest of the screenplay. 2. You often hear "grab your reader in the first ten pages". That statement is misleading because if you're writing a love story that has little to no action and think that you need to "grab" the reader then you might think that an action sequence or something flashy and uneccessary should be in the first ten pages. It should not. You also have to be mindful that you must introduce your characters and a significant change in the hero's everyday life by this time. The most difficult part of this whole process is to weave everything together. Somwhere in the first 10% of your screenplay you must introduce characters, their current situations, the setting, etc. This answer is as good as any other answer: have a strong leading character, good plot that is moved by outer motivations and desires, great drama, a satisfying climax and ending, blah blah blah etc. The only difference is that before the reader can read and realize any of those other aspects - which are great answers as well- they either read it or don't. Without being persuaded to continue to read the screenplay they cannot realize the other things that I have mentioned make a good screenplay.
Source: Every screenplay that I have read: Annie Hall, Citizen Kane, Shakespeare in Love, A Knight's Tale, and the book Writing Screenplays That Sell by Michael Hauge.
Answer 3: The best way to write a successful screenplay is to seduce the reader/audience in the first 10 pages, or at the 10% mark.
Evidence: 1. When you're trying to sell your screenplay it is already hard to get someone to even open it, let alone read it. So it essential to seduce the reader so that they will continue to read through the rest of the screenplay. 2. You often hear "grab your reader in the first ten pages". That statement is misleading because if you're writing a love story that has little to no action and think that you need to "grab" the reader then you might think that an action sequence or something flashy and uneccessary should be in the first ten pages. It should not. You also have to be mindful that you must introduce your characters and a significant change in the hero's everyday life by this time. The most difficult part of this whole process is to weave everything together. Somwhere in the first 10% of your screenplay you must introduce characters, their current situations, the setting, etc. This answer is as good as any other answer: have a strong leading character, good plot that is moved by outer motivations and desires, great drama, a satisfying climax and ending, blah blah blah etc. The only difference is that before the reader can read and realize any of those other aspects - which are great answers as well- they either read it or don't. Without being persuaded to continue to read the screenplay they cannot realize the other things that I have mentioned make a good screenplay.
Source: Every screenplay that I have read: Annie Hall, Citizen Kane, Shakespeare in Love, A Knight's Tale, and the book Writing Screenplays That Sell by Michael Hauge.
Thursday, March 29, 2012
Room Creativity
1. I intend to meet the creativity requirement by enhancing the lesson through audience involvement through out the entire 2-hour, not just the activity. When I present anything I want to have a lot of questions to ask the audience so I'll pull names out of a hat. For unique application I was thinking of giving everyone a fortune cookie containing like plot points and asking them to create a story out of the one sentence... but I'm not really sure how we're supposed to address unique application, I imagined if I tied it back to one of my answers then it would have been used effectively.
2. Answer 1: Write with a voice
Activity: ummm pass a peice of clay around and ask everyone to describe it in one sentence. They can mold it into a shape or leave it as it is but they cannot say the word that it literally is. That is to use their voice to transcend an idea. Make the point that no matter how perfectly molded an idea is in your head if you can't get that across to other people it's useless.
Answer 2: Invest in the protagonist
Activity: I was thinking I could probably use the fortune cookie idea here- give everyone a hero and ask them to come up with either a setup (introduce a desire not given in fortune but unique to the student) or a conflict.
2. Answer 1: Write with a voice
Activity: ummm pass a peice of clay around and ask everyone to describe it in one sentence. They can mold it into a shape or leave it as it is but they cannot say the word that it literally is. That is to use their voice to transcend an idea. Make the point that no matter how perfectly molded an idea is in your head if you can't get that across to other people it's useless.
Answer 2: Invest in the protagonist
Activity: I was thinking I could probably use the fortune cookie idea here- give everyone a hero and ask them to come up with either a setup (introduce a desire not given in fortune but unique to the student) or a conflict.
Thursday, March 15, 2012
Answer Two
EQ: What is the best way to write a successful screenplay?
It is the job of the screenwriter to elicit emotion in the audience/reader; but in order to do that the audience/reader has to be invested in your character. Development of the main character is essential. We don't pay to see a movie and watch the actors laugh or cry or crap their pants, we go to the movies to experience it; we want to laugh and cry and crap in our pants. Author of Writing Screenplays That Sell, and experienced script consultant, Michael Hauge claims that without an investment in the hero the audience will not know what or who to root for and so any attempt to appeal to emotion is not fully reached because of the lack of empathy for the character. Now you might be thinking well what exactly does investing in the protagonist mean? The protagonist, as professor Solano my third interviewee puts it: is the the driving force of the entire story. If you named nearly every successful movie ever made you could rest assured that the plot was pulled along by the desires and misfortunes of the protagonist. So one way to develop your hero may be to establish the his or her desires and motivations. An example, just off the top of my head would be Forrest Gump, which I would assume you are familiar with. Forrest's desire and motivation is love, or simply Jenny. There is a lot of time devoted throughout the film to establish that he loves Jenny, which both develops Forrest as a character and builds up tension in regards to whether or not they will be together in the end. Another way to invest in your protagonist is to create a great character arc. In plain english that means to make to the character grow. This is no new trick of the trade, in all storytelling mediums the character arc is important. Perhaps the most easily recognized is Charles Dickens novel A Christmas Carol, where Ebenezer Scrooge turns from greedy into a philanthropist. In Steve Zaillian's Schindler's List, Oscar Schindler transforms from a selfish and ambitious business man into a kind and brave life saver. And in Brian Helgeland's Knight's Tale, protagonist Will transforms from a peasant to a noble/knight.
It is the job of the screenwriter to elicit emotion in the audience/reader; but in order to do that the audience/reader has to be invested in your character. Development of the main character is essential. We don't pay to see a movie and watch the actors laugh or cry or crap their pants, we go to the movies to experience it; we want to laugh and cry and crap in our pants. Author of Writing Screenplays That Sell, and experienced script consultant, Michael Hauge claims that without an investment in the hero the audience will not know what or who to root for and so any attempt to appeal to emotion is not fully reached because of the lack of empathy for the character. Now you might be thinking well what exactly does investing in the protagonist mean? The protagonist, as professor Solano my third interviewee puts it: is the the driving force of the entire story. If you named nearly every successful movie ever made you could rest assured that the plot was pulled along by the desires and misfortunes of the protagonist. So one way to develop your hero may be to establish the his or her desires and motivations. An example, just off the top of my head would be Forrest Gump, which I would assume you are familiar with. Forrest's desire and motivation is love, or simply Jenny. There is a lot of time devoted throughout the film to establish that he loves Jenny, which both develops Forrest as a character and builds up tension in regards to whether or not they will be together in the end. Another way to invest in your protagonist is to create a great character arc. In plain english that means to make to the character grow. This is no new trick of the trade, in all storytelling mediums the character arc is important. Perhaps the most easily recognized is Charles Dickens novel A Christmas Carol, where Ebenezer Scrooge turns from greedy into a philanthropist. In Steve Zaillian's Schindler's List, Oscar Schindler transforms from a selfish and ambitious business man into a kind and brave life saver. And in Brian Helgeland's Knight's Tale, protagonist Will transforms from a peasant to a noble/knight.
Friday, March 9, 2012
The Product
My product so far is an understanding of the journey a screenplay takes in order to be bought and produced. I will apply this by writing my own screenplay (which I did in my independent component) and selling it.
Evidence is hard to provide because the screenplay is written on a writing software that only opens when you have the software on your computer, but Ms. Melogno has a hard copy of it.
Evidence is hard to provide because the screenplay is written on a writing software that only opens when you have the software on your computer, but Ms. Melogno has a hard copy of it.
Tuesday, February 21, 2012
Quote of the Day
Orson Welles as Charles Foster Kane"Don't worry about me, Gettys! Don't worry about me! I'm Charles Foster Kane! I'm no cheap, crooked politician, trying to save himself from the consequences of his crimes!"
Citizen Kane
Screenplay written by Orson Welles and Herman J. Mankiewicz
Fourth Interview Questions
1. What makes a good screenplay?
2. What makes a bad screenplay?
3. How important is the screenplay to a film?
4. How important is research for a screenplay?
5. In books and novels the author is able to reveal the thoughts of the characters - which help to develop those characters - how does a screenwriter develop characters?
6. Writers always have voices, but screenplays have a set structure and are almost entirely action and dialogue, does this mean the screenwriter loses their voice?
7. Do you have a favorite screenwriter or screenplay? If so, why?
8. Why are screenplays based on novels and other published works easier to write and sell than original screenplays?
9. When screenplays are sold is it crucial for the screenwriter to have connections or are they sold based on the potential of the screenplay?
10. What is a successful screenwriter?
2. What makes a bad screenplay?
3. How important is the screenplay to a film?
4. How important is research for a screenplay?
5. In books and novels the author is able to reveal the thoughts of the characters - which help to develop those characters - how does a screenwriter develop characters?
6. Writers always have voices, but screenplays have a set structure and are almost entirely action and dialogue, does this mean the screenwriter loses their voice?
7. Do you have a favorite screenwriter or screenplay? If so, why?
8. Why are screenplays based on novels and other published works easier to write and sell than original screenplays?
9. When screenplays are sold is it crucial for the screenwriter to have connections or are they sold based on the potential of the screenplay?
10. What is a successful screenwriter?
11. What prompted you to become a screenwriter?
12. When you are writing, what do you focus on (i.e. character, theme, plot)? What is your process?
13. How do you know when you have written something compelling?
14. Can the master scene format be broken?
15. What sort of elements in a screenplay make an impression on you?
16. Can you describe the average day in the life of a screenwriter?
17. What do you dislike about being a screenwriter? Or writing screenplays?
18. I think this question applies to writing in general, but do your protagonists often characterize yourself? If so, why do you think that is?
19. What is the key element, the most essential component, the joie de vivre of a good screenplay?
20. What advice would you give to aspiring screenwriters?
Wednesday, February 15, 2012
Independent Component 2 Plan Approval
1. I will continue my study of screenwriting by studying its form, history, essential components, and skills in writing one. I plan on reading more screenplays, reading more about how they are written and spending more time on trying to write them.
2. 10 hourse reading screenplays, 10 hours reading how to write them, and 10 hours writing one.
3. In the first Independent Component I familiarized myself with the lingo, the structure, etc. This time in every screenplay I read I will search for the most essential component in the written text- as with learning about how to write them. And by searching for this answer in my research I will interpret it into my EQ answers and then apply it to my original screenplay.
2. 10 hourse reading screenplays, 10 hours reading how to write them, and 10 hours writing one.
3. In the first Independent Component I familiarized myself with the lingo, the structure, etc. This time in every screenplay I read I will search for the most essential component in the written text- as with learning about how to write them. And by searching for this answer in my research I will interpret it into my EQ answers and then apply it to my original screenplay.
Friday, February 10, 2012
Quote of the Day
“We are languishing in a period without much direction and no shared body of ideas about what we and our society are all about. Now, as never before, we need people who have stories to tell that make sense and order out of the daily avalanche of sensation, news, events; the function of the artist in society is to reveal the order of the universe, to trace the grand design that others cannot see. That is what story is.”
Oscar-winning screenwriter Frank Pierson (Dog Day Afternoon)
Oscar-winning screenwriter Frank Pierson (Dog Day Afternoon)
Independent Component 1 (extra)
Click here to view my logged hours.
Here are Mr. Miller's signature for those hours:
Here are Mr. Miller's signature for those hours:
Evidence:
- notes
- screenplay
Literal:
I, Inez Franco, affirm that I completed my independent component which represents 43.8 hours of work. 16.5 hours working on my own screenplay, 14.5 learning how to write one, and 12.8 hours reading them.
I have read Shakespeare in Love, Annie Hall, Manhattan, A Knight's Tale, and It's a Wonderful Life. I have also read Screenwriting for Teens, written by a screenplay consultant. And have written my own screenplay for a 15 page short.
Interpretive:
I didn't JUST read those screenplays - I analyzed them, broke them down, took notes, and learned from them. That is why it took my more than 2 hours to complete any given screenplay. When I calculated that I did 43 hours I honestly felt like that was such an understatement. 48 hours isn't even two full days. I feel like I have been studying this Independent Component for a month now. The Book I read on how to write a screenplay was perfect because it was written in terms of how a teenager would understand it. There were 100 concepts of basic skills in that book and I noted every single one of them! Reading Screenwriting for Teens really helped me build my story. You would think that making up stories was easy, kids do it all the time. But it is NOT EASY! I have a new found respect for all forms of storytelling. And lastly wrting my own script was super difficult. It was the hardest part of the whole deal. Everything I read before I started helped out tremendously though.
Applied:
This did not straight out answer my EQ, I feel like it presented 100 million more possible answers to me though... like: character, themes, style, strategic word choice, economic writing, element of surprise... just to name a few possible answers. I do feel more comfortable about speaking about my topic though. The biggest leasson I learned is that you can't read 5 screenplays and a book about how to write a screenplay and expect that you can do it. I need like 10,000 hours of practice. I am so far from good! But that doesn't discourage me, the difference between talent and mastery is 10,000 hours of practice. I have a long way to go.
Thursday, February 9, 2012
Independent Component 1
For my logged hours click here.
Here are some of the videos we have made so far.
Here are some of the videos we have made so far.
Literal:
I, Inez, affirm that I completed my independent component which represents 111 hours of work.
I have completed a full semester of ROP videography, where I have made several short films.
Interpretive:
It isn't easy filming, it takes a lot of work, hours, and collaboration. At the beginning of the year my topic was filmmaking which is why I am in ROP. Now my topic is screenwriting but staying in ROP is still relevant - we do write scripts for our films.
Applied:
How did it help you answer your EQ?
Writing a screenplay for no other reason than for the fun of it is much different than writing one that you are going to have to make! For my extra Independent Component I wrote about cartoon spiders... I would have never done that for ROP. Writing for ROP kept me practical. I think being practicality is an essential part to a script - especially when you don't have CGI or computer graphics to make up the thousands of extras you cannot cast. I think an economical screenplay has an advantage when producers are choosing which films they'd like to produce. After all, how seriously would you take a screenplay that asked for ridiculous things?
Tuesday, February 7, 2012
Quote of the Day
“Writing should be an adventure, shrouded in mystery and uncertainty, blessed with amazing grace. In theory. of course”
Syd Field
The Screenwriter’s Workbook
Syd Field
The Screenwriter’s Workbook
Monday, February 6, 2012
Presentation 2
20 Minute Lesson Plan
Prepared By: | Inez Franco | House: | South House |
| Essential Question What is the best way to write a successful screenplay? : | Objective:Students will learn how to disect a screenplay for production. The assignment is a boring and tedious one, but I believe it highlights the importance of the screenplay. While students are doing the activity I will briefly distinguish the differences between screenplays and stageplays (which is the history of the screenplay) and give a debrief on the processes that screenplays go through to get bought. |
Teacher Guide | Time | ||
| Introduction | Hey South House, my name is Inez and my senior project is on screenwriting. My Essential Question is: what is the best way to write a successful screenplay? So just to clarify my question for you guys, what i mean by successful is a screenplay that people want to buy, not successful in terms of money. If the laater were the case my answers would sound like marketing strategies and would clash with what I believe a successful screenwriter is. | 1 min | Three Important Sources1. Bernardo Solano: playwright and my interviewee 2. Screenwriting for Teens (book) by Christina Hamlett: professional script coverage consultant 3. Philip Miller: service learning contact/ ROP instructor |
| Verification(Steps to check for student understanding) | 4 min |
| Body(Give and/or demonstrate necessary information) | Break down what you plan on talking about into manageable sections.● Literal● Interpretive● Applied: Why are the things I explained in interpretive important to my EQ? Understanding the difference between the two mediums – film and stage – really helps me understand how screenwriting works in advantage to certain stories and the disadvantages of it as well. The reasons why the expensive spec scripts are worth mentioning is because it is the anti-thesis to what I believe success in screenwriting is. It is great to make money off of doing what you love – but it shouldn’t be the pursuit. Filmmakers should not be con men, they should be artists. : After explaining the history I can talk about the differences between the screenplay and the stageplay and give examples. The give some records of the most money spent on buying a spec script and explain how rare these occurences really are and how they are misleading. Also I can talk about why so much money was spent on those scripts.: | ● Literal: 6 min● Interp: 2 min● Applied: 2 min | Visuals A prezi presentation with figures for when I am describing the prices in how screenplays are sold, and examples of how screenplays look, and maybe some prominent screenwriters and playwrights as well. |
| Activity(Describe the independent activity to reinforce this lesson) | How it will be done: I will give all the students a sample script and a guide on how to disect it. Walk them through everything and then ask them to disect it. | 4 min | Materials - sample script - guide - crayons - script breakdown sheets |
| Conclusion | I will ask a random person for something they learned today that they didn’t know before – about screenplays. Then just say that the screenplay is the center, and if the center doesn’t hold then nothing else will an in my opinion the screenplay is the most essential component of the filmmaking process. It has to be solid! Then ask for any more questions. And thank the class for their time of course. | 1 min |
I will upload as a google doc later... my computer won't let me right now.
Monday, January 30, 2012
Quote of the Day
“Most screenwriters are unemployed, chronically unemployed.”
Screenwriter Tom Lazarus (Stigmata)
Secrets of Film Writing
Screenwriter Tom Lazarus (Stigmata)
Secrets of Film Writing
Monday, January 23, 2012
Thursday, January 19, 2012
Answer 1
1. My first answer right now is: write with a voice. Not literally of course. What I mean is that a story isn't worth listening to if there wasn't a point to be arrived at. Stories with resonating themes are more likely well received. Anyways, writers have voices. My best example would be... Ayn Rand vs. Jane Austen. Both great writers in their own respect, but they have completely different voices. For writers, having a voice is probably the hardest thing to achieve and at the same time most powerful tool to have. Without a voice a writer's message or point can seem cliche or detached. When you read anything and see that the writer is clearly connected to the themes and truths he/she is trying to arrive at, you feel you can trust the writer; there is some sense of assurance in a writer that has a voice. I think, and again I just think, that this makes the difference when a screenplay without a "name" comes into the hands of someone who can make it into a film. Besides having a compelling story, concrete characters, etc. the difference between another good story and screenplay worth investing in is one where the screenwriter has a voice.
2. In my interview with playwright/director Bernardo Solano, he said that the most integral and essential part to a screenplay is the heart... which is essentially a part of the writer. But I can't say the best way to write a successful screenplay is to be a great screenwriter - obviously. However I do feel that is an important part of it; it doesn't make sense to write a good screenplay and not be a good screenwriter, right? So what makes a good screenwriter? I think above all things, and something hidden and yet apparent in the screenplays I've read, is that voice... I'm trying to think of other examples of the answer coming up but I can only think of maybe a quote or two. Honestly, my sources aren't really that credible (as far as research goes) its hard to get academic sources for screenplays - other than tons of books on how to write a screenplay written by people who have never sold one... which in my opinion is not very good research.
3. I have some comments from an interview. But I have been reading screenplays and came to this conclusion after looking through my research, the interviews, and my other components. So I guess research, interviews, screenplays, and my own notes are my possible sources of evidence. I still need to think of better resources.
2. In my interview with playwright/director Bernardo Solano, he said that the most integral and essential part to a screenplay is the heart... which is essentially a part of the writer. But I can't say the best way to write a successful screenplay is to be a great screenwriter - obviously. However I do feel that is an important part of it; it doesn't make sense to write a good screenplay and not be a good screenwriter, right? So what makes a good screenwriter? I think above all things, and something hidden and yet apparent in the screenplays I've read, is that voice... I'm trying to think of other examples of the answer coming up but I can only think of maybe a quote or two. Honestly, my sources aren't really that credible (as far as research goes) its hard to get academic sources for screenplays - other than tons of books on how to write a screenplay written by people who have never sold one... which in my opinion is not very good research.
3. I have some comments from an interview. But I have been reading screenplays and came to this conclusion after looking through my research, the interviews, and my other components. So I guess research, interviews, screenplays, and my own notes are my possible sources of evidence. I still need to think of better resources.
Tuesday, January 17, 2012
Revised Essential Question
1. My revised essential question is: what is the best way to write a successful screenplay?
2. Defining terms seems a little difficult with my question because I interpret the question a bit differently. By 'successful' screenplay I don't mean one that makes loads of money - realistically that almost never happens anyways except for a few lucky hollywood hotshots - but successful to me is screenplay that people want to buy. And what I mean by 'best way to write' is as far as writing goes what makes a good screenplay? My answer will be in the writing of the screenplay. So what I am really asking is: what in the screenplay makes people want to buy it? Some people will buy a script because there is a name on it, but there are still others who sell their screenplays solely based on the screenplay... why do people invest in those scripts? I once heard that "most screenwriters get paid nothing, what makes you any different?" And that is precisely what I am looking for! What does make them different?
3. I think likely answers will be: new/unique storytelling, unique insight, witty characters, story/character driven stories, or an incredibly relatable story.
4. My greatest source so far has been my reading of real screenplays.. I have only read one whole screenplay BUT I really got a lot out of it. I am even excited to read more... the only thing is, I have been reading about working screenwritersin my research and there is so many depressing things to be said... like the fact that the majority of writers will be out of work this year, the average writer makes less than my father, hollywood is a shmuck, and to be quite honest with myself if there was a secret to writing screenplays that could be decoded in the greatest of all sreenplays then someone would have found it by now. I have helpful research but its discouraging as well.
2. Defining terms seems a little difficult with my question because I interpret the question a bit differently. By 'successful' screenplay I don't mean one that makes loads of money - realistically that almost never happens anyways except for a few lucky hollywood hotshots - but successful to me is screenplay that people want to buy. And what I mean by 'best way to write' is as far as writing goes what makes a good screenplay? My answer will be in the writing of the screenplay. So what I am really asking is: what in the screenplay makes people want to buy it? Some people will buy a script because there is a name on it, but there are still others who sell their screenplays solely based on the screenplay... why do people invest in those scripts? I once heard that "most screenwriters get paid nothing, what makes you any different?" And that is precisely what I am looking for! What does make them different?
3. I think likely answers will be: new/unique storytelling, unique insight, witty characters, story/character driven stories, or an incredibly relatable story.
4. My greatest source so far has been my reading of real screenplays.. I have only read one whole screenplay BUT I really got a lot out of it. I am even excited to read more... the only thing is, I have been reading about working screenwritersin my research and there is so many depressing things to be said... like the fact that the majority of writers will be out of work this year, the average writer makes less than my father, hollywood is a shmuck, and to be quite honest with myself if there was a secret to writing screenplays that could be decoded in the greatest of all sreenplays then someone would have found it by now. I have helpful research but its discouraging as well.
Thursday, January 12, 2012
Service Learning
- For my service learning hours I am completing the ROP videography course.
- My contacts are both Philip Miller and Sean Daly
- Well, considering I do 6 hours a week, I'm pretty sure I've surpassed the 10 hour requirement. In class we watch examples of films then we discuss numerous things like techniques...etc. We are given assignments and a time limit to meet them. I've spent the majority of my time in ROP filming an editing our short films which include: two door scenes (one edited and the other not), a short film (with no dialogue), a short documentary, and we are currently working on a music video.
- I have at least worked 96 hours so far in ROP.
Saturday, January 7, 2012
ESLR Blog
So far in my senior project, I have been an effective user of technology and a life long learner.
I feel I have met the effective user of technology ESLR because I was able to post this blog, keep an updated Working Bibliography for my research via microsoft excel, and use WEB resources for both my research and science project data.
I have met the life long learner ESLR simply because the information I have researched, the experience I am gaining, and even the people I have met and collaborated with thus far will affect the body of knowledge and experience that I will have with me for the rest of my life. Should I choose to follow this career path, this whole senior project experience will affect my career. Also, I understand that this project is completely my own. I feel more liable for my work than I ever have before, whether that is because there is no one else to pick up the slack or because this project is more important to me than any other I don't know. But if I only get a P in the end I will be so dissappointed in myself and because I feel that way I am assuming responsibility for my own learning.
I feel I have met the effective user of technology ESLR because I was able to post this blog, keep an updated Working Bibliography for my research via microsoft excel, and use WEB resources for both my research and science project data.
I have met the life long learner ESLR simply because the information I have researched, the experience I am gaining, and even the people I have met and collaborated with thus far will affect the body of knowledge and experience that I will have with me for the rest of my life. Should I choose to follow this career path, this whole senior project experience will affect my career. Also, I understand that this project is completely my own. I feel more liable for my work than I ever have before, whether that is because there is no one else to pick up the slack or because this project is more important to me than any other I don't know. But if I only get a P in the end I will be so dissappointed in myself and because I feel that way I am assuming responsibility for my own learning.
Wednesday, January 4, 2012
Third Interview Questions
1. What makes a good screenplay?
2. What makes a bad screenplay?
3. How important is the screenplay to a film?
4. How important is research for a screenplay?
5. In books and novels the author is able to reveal the thoughts of the characters - which help to develop those characters - how does a screenwriter develop characters?
6. Writers always have voices, but screenplays have a set structure and are almost entirely action and dialogue, does this mean the screenwriter loses their voice?
7. Do you have a favorite screenwriter or screenplay?
8. Are screenplays based on novels and other published works easier to write and sell than original screenplays?
9. When screenplays are sold is it crucial for the screenwriter to have connections or are they sold based on the potential of the screenplay?
10. What is a successful screenwriter?
2. What makes a bad screenplay?
3. How important is the screenplay to a film?
4. How important is research for a screenplay?
5. In books and novels the author is able to reveal the thoughts of the characters - which help to develop those characters - how does a screenwriter develop characters?
6. Writers always have voices, but screenplays have a set structure and are almost entirely action and dialogue, does this mean the screenwriter loses their voice?
7. Do you have a favorite screenwriter or screenplay?
8. Are screenplays based on novels and other published works easier to write and sell than original screenplays?
9. When screenplays are sold is it crucial for the screenwriter to have connections or are they sold based on the potential of the screenplay?
10. What is a successful screenwriter?
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