Response to "War of the Words"

Good afternoon:

I'm looking forward to class tomorrow, and am doing research to prepare for the meeting at Paradigm.

I'm writing to email my response to the article: War of the Words

As a beginning screenwriter, I’m determined to be well prepared and I enjoyed reading the article, “War of the Words.” The examples of writer/director relationships cited in the article added to the arsenal of information you are providing that is preparing us for the realities of the business.

As I write I hear my mentors in the School of Cinematic Arts’ Writing Division and in the USC master of professional writing program.

From Irvin Kershner (shouted passionately at me while he was holding a draft of a story I’d written for him, standing in a hallway outside of class): Why is this character, this child, like no other who is living or who has ever lived? Why is his mother like no one who is living or who has ever lived? If you can’t show this you don’t have anything.”

And from Gina Nahai: Before you write your first words, ask why am I telling this story? Why am I telling it now? And as you begin, answer the question: Why is this day like no other in the characters’ lives?

Thoughts on dialogue: Write the dialogue the best I can. Rewrite. Then make it tighter. Leaner. Then let it go—it’s fun to think the actors may read the words, then re-reading them, intrigued: I can say it like this. No, Like this!

I hope the story will capture the imagination of the producer, the director, costume designer, location people, lighting crew, actors.

And as I write, Kershner’s words echo. “One character wants something. He may not say a word. What does he do to get it? Now that is interesting.”

I remember discovering the book about the writing of the Star Trek episode, The Trouble With Tribbles, in the sixth grade and my heart stopped as I made the amazing discovery, “People really do this? People write for the screen for their life’s work?”

And as I’ve reconnected with my childhood dream, I’ve found it to be the most complicated type of writing I’ve attempted and yet I gain energy from the process. It truly is magic.

So the writer does the best he or she can, drawing from a powerful palette: art, history, wardrobe, setting, sound (learned from another USC/SCA mentor, Ron Friedman).

And when the story is experienced by the reader, assistant or agent or attorney and passed along hopefully excitement will grow. And through collaboration, it will become stronger.

The article “War of the Words,” taught me that some directors, including Clint Eastwood, don’t consult with the screenwriter at all. But if the screenplay is created from the strength of the writer’s vision and palette, hopefully as real people speak the words and enter the settings that were first imagined by the writer, the essence, the magic of the story, will endure.

From working in several settings and seeing numerous projects through to completion and observing many more, I could also write an essay on getting along, what it takes to make a contribution instead of being difficult. And if the screenwriter’s presence is beneficial to the project, I believe that in many cases the writer will be invited to continue shaping the project to its completion.

Best,

Nancy