September is Scene-Writing Month: Day 15
As noted in this post, September is Scene-Writing Month here at Go Into The Story. Every Monday-Friday at noon Eastern / 9AM Pacific, I will upload a post with a prompt for writing a script scene. Each day, write a scene per those guidelines. If you really want to get in the spirit of things, upload your scene here in the comments section of the original post. That way you can critique others’ pages and receive feedback on your scene as well.
Why scene-writing? Think about it: If the average scene is 1 1/2 to 2 pages long and a script is 100–120 pages, then a screenwriter writes between 50–80 scenes per screenplay. Thus in a very real way, screenwriting is scene-writing. The better we get at writing scenes, it stands to reason the better we get as a screenwriter.
Plus there’s this: If you are thinking about using the Go On Your Own Quest schedule to pound out a first draft of an original screenplay, FADE IN is fast approaching — October 21 to be precise. What better way to get your writing muscles moving than a series of scene-writing exercises.
A couple of logistical notes:
* Limit your scenes to 2 pages. First, most scenes are 2 pages or less in length. Second, out of fairness to everyone participating in the public scene-writing workshop, let’s not abuse anyone’s patience or time with really long scenes.
* I’m sure someone will post a way for you to write scenes and upload them so they maintain proper script format, but that isn’t a big deal to me. Rather the content and execution are the important thing. So as a default mode, do this: (1) Don’t worry about right-hand margins on scene description or dialogue, just keep typing until it manually shifts each line. (2) Don’t worry about character name position, rather do this:
SCARLETT: Rhett, Rhett... Rhett, if you go, where shall I go? What shall I do?RHETT: Frankly, my dear, I don't give a damn.
Today’s prompt: Write a scene with a two-sided telephone conversation.
Last time, we did a one-sided version. Today try your hand at a two-sided one.
There are two general ways to handle this type of call. One is where the location doesn’t change and we — the moviegoer — can hear the voice of the other person on the line talking with our main character. To wit:
INT. BASEMENT - NIGHTPhone rings. Barclay (40s) chins the receiver, eyes never straying from his hands
busy at work... on something.BARCLAY
Yeah.OTIS (V.O.)
Done yet?BARCLAY
Nah.OTIS (V.O.)
Well, hurry it up.BARCLAY
Hey, asswipe, these things take time.Barclay raises his hands. Done. It's an ELABORATE LEGO STRUCTURE.
Another approach involves cross-cutting between both locations:
INT. BASEMENT - NIGHTBarclay gazes with pride at the Lego structure.OTIS (V.O.)
How's it look?BARCLAY
Whaddya mean how's it look?INT. BEDROOM - CONTINUOUSOtis (9) on the phone.BARCLAY (V.O.)
It looks like a damn Lego.OTIS
Hey, bong breath, I paid you good
money to do my science fair project
for me, so I expect a quality Lego.INTERCUT - PHONE CONVERSATIONBARCLAY
Ain't taking no lip from some
goddammed kid.OTIS
Got my dad on speed dial, homes.
Want me to call up your boss and
see what he says on the matter?Barclay heaves a sigh. Defeated.BARCLAY
Jeezus. Kids these days.Otis screws his face into a sly grin.OTIS
Feel the burn, baby. Feel the
burn.
Your mission should you choose to accept: Write a two-sided telephone conversation. 2 pages max.
Post your scene in comments for feedback.
If you don’t feel comfortable uploading your scene, that’s okay. I encourage you to do the exercise privately. Let’s face it: Any writing is better than no writing.
To learn more about Go On Your Own Quest, go here.
Also The Black Board is joining in with National Sketch Writing Month, so if you’re a comedy writer and want to check that out, you can go here.
Tomorrow: Another scene-writing prompt.
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