Naming Names

In the beginning, I didn’t care much for my character’s names. They just were, know-what-I-mean? Didn’t serial killers just happen to be called Gacy and Bundy? Didn’t Stallone and Schwarzenegger become action film brands? So what if my sister and I were named after our neighbours? (And why do people find this amusing?)

Names are important, though:

A name is like a tightly-wound DNA molecule, capable of conveying information about characterisation, tone, story and theme.
Elliott & Rossio

I’ve long since run out of first and middle names of friends, family and acquaintances. Unlike John August, no streetnames I can remember or think of lend themselves to being affixed to my puppets characters.

I have to work at it. But maybe I learnt from the best:

INT. LOUNGE, MY PARENTS’ HOUSE – EVENING – SOME TIME AGO

My MOTHER cradles her week-old grandson, DAVID (not his real name), and makes coo-ing noises. My FATHER peers at the packet of swaddling and wrinkles.

FATHER

What’s his name?

ME

(proudly)

David.

My mother wrinkles her nose.

MOTHER

What sort of name is David?

ME

‘S a great name – direct and unambiguous.

My father nods slowly and, after a beat, clears his throat:

FATHER

(to child)

We will call you... Safune.

DAVID/SAFUNE

Gurgle.

MOTHER

(to Father)

He likes that.

ME

(getting a little cross)

What’s wrong with David?

Safune and his grandparents ignore the recently-minted father and leave the room.

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The Working First Draft

I finished a first draft last week. It’s what I call a working first draft – a partially muscled skeleton of a script that I don’t show anyone for fear of their never reading my scripts again. I think one of William Goldman‘s Screentrade Adventures – or was it Stephen King‘s On Writing? – had a name for it. Can’t find the reference. Anyway:

  • I have completed a draft;
  • it has a beginning, middle and end;
  • and I’m still excited by the idea behind it.

While I was typing out the epilogue, I found I had a lump in my throat and a tear in my eye – touching reminders of why I’m so attached to the story. It was great. If When I have that effect on the reader a few drafts from now, I’ll be pretty effin’ stoked.

The current draft is a pretty measly 85 pages long. The story’s a 120 page kind of script. The missing pages are currently in the form of, at best –

INT. HERO’S PARENTS’ HOUSE – EVENING

Our HERO has dinner with his MOTHER and FATHER.

HERO

– SAYS SOMETHING TO REINFORCE HIS ALREADY-ESTABLISHED RELUCTANCE WITH WHICH HE DINES WITH HIS PARENTS –

FATHER

– SAYS SOMETHING TO REINFORCE HIS PREVIOUSLY HINTED AT DISAPPOINTMENT WITH HERO –

MOTHER puts her cutlery down.

MOTHER

Stop it – just stop it!

HERO and FATHER look at her.

– or, at worst –

INT. HEROINE’S OFFICE – EVENING

PLACEHOLDER – until I decide how to establish our HEROINE as ‘a woman not to mess with’ without making her come across as having regular testosterone injections.

This week is time-out from the script. I’ve got my work cut out for me.

And I can’t wait.

(Big-ass fedora-tips to Mr August and Nima Yousefi for making the above scrippets available.)

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Point & Click

I’ve got three, no, four, posts that I’m having trouble getting over the finish line, so it’s lookee what i found! time:

  • My awareness of the New Zild screenwriting blogosphere has just increased by 33%: Shortland Street scribe Edwin McRae blogs about his process at Fiction Engine. (Fedora-tip: Mr Reid.)
  • Someone went to the trouble of typing in each and every title listed in 1001 Books You Must Read Before You Die. Hollywood screenwriter John August has read 38 of them but would’ve scored higher if non-fiction was included. I scored 41 but would’ve scored higher if they included more comics. The Goddess, a enthusiastic avid voracious reader, scored 115. (Fedora-tip: John August.)
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Box Watch Epilogue

Some of you may have been wondering if you’ve stumbled onto a wannabe-homegrown-Teevee site rather than the wannabe-homegrown-johnaugust.com I aspire to. Well, I could say that sing –

It’s my party
And I’ll cry if I want to
Cry if I want to
Cry if I want to

– but I’m in one of my rare moments of adult-ness so I’ll say this: someone wrote those shows, and a large part of our enjoyment derives from the stories they tell and the characters within. And if the show turns me on, I like to share the love.

(Some of you more sharp-eyed surfers may be confused about my relationship with Medium. That show’s lack of character consistency and surfeit of expository dialogue may set my teeth on edge but I watch it because it tells some wicked cool stories, sometimes with style aplenty.)

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Point and Click

Between searching for bill-paying work, and drafting pitches for writing work, all I’s gots for ya this week is more linkages.

  • John August has an interesting post on publicity. I admit to being Kiwi-bloke-ish in my self-promotion: essentially a “build it and they will come” approach. (This blog and the attendant dfmamea.com site was a tentative step in the self-promotion direction. It’s provided a fantastic avenue for procrasturbation.)
  • Whilst clearing up my massive RSS backlog (and inadvertently deleting a mass of ‘Important’-flagged ones), I found a wealth of left-field ideas and approaches to film distribution from Tim Clague‘s Projector Films blog. The ideas are a bit scary and newfangled for a conventional and blissful ignoramus like myself, but they’re exciting and exhilarating, and any day now, I’ll understand it all.
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