{"id":1246,"date":"2010-11-15T00:15:01","date_gmt":"2010-11-14T11:15:01","guid":{"rendered":"http:\/\/dfmamea.com\/blog\/?p=1246"},"modified":"2010-11-15T00:15:01","modified_gmt":"2010-11-14T11:15:01","slug":"flashback-roughing-it","status":"publish","type":"post","link":"https:\/\/dfmamea.com\/blog\/flashback-roughing-it\/","title":{"rendered":"FLASHBACK:  Roughing It"},"content":{"rendered":"<p><em>From <a href=\"http:\/\/dfmamea.com\/blog\/2007\/11\/19\/roughing-it\/\">November 2007<\/a>:<\/em><\/p>\n<p>Let&#8217;s say I have to write a scene with corporate suits speaking corporate-speak.  I want it to be fluid &#8211; a language that&#8217;s appropriate to the characters but still accessible to the audience.  Minutes and minutes of talking heads yakking at each other &#8211; but interesting.  Touchstones are <a href=\"http:\/\/www.imdb.com\/name\/nm0000231\/\" target=\"_blank\">Oliver Stone<\/a>&#8216;s <a href=\"http:\/\/www.imdb.com\/title\/tt0102138\/\" target=\"_blank\">JFK<\/a>, the &#8216;law&#8217; halves of <a href=\"http:\/\/en.wikipedia.org\/wiki\/Law_&#038;_Order\" target=\"_blank\">Law &#038; Order<\/a> episodes, and any episode in <a href=\"http:\/\/www.imdb.com\/name\/nm0815070\/\" target=\"_blank\">Aaron Sorkin<\/a>&#8216;s <a href=\"http:\/\/en.wikipedia.org\/wiki\/The_West_Wing\" target=\"_blank\">West Wing<\/a>.<\/p>\n<p>My first instinct is to just write the scene and get it over with.  This can be difficult if I&#8217;ve little or no idea how suits talk to each other.  In the past it&#8217;s become a war of attrition: the objective of narrative-propelling talking heads can be forgotten in a distressing and dispiriting fug of expository dialogue, with an end-result of dropping the scene completely, followed by a period of self-loathing whimpering in The Goddess&#8217; compassionate and patient arms.<\/p>\n<p><b>I know what I want.<\/b>  I can almost <i>taste<\/i> the scene.  The problem is writing the scene that I want even though I very probably have no idea <i>what happens in it<\/i>.<\/p>\n<p>The solution is awfully simple: take tiny steps.  Write what I know.  Then write it again.  Repeat until well done.<\/p>\n<p>I&#8217;ve noticed a pattern to how some of these scenes take shape.  Below are the stages of development that a scene can undergo:<\/p>\n<p>&#8211;&nbsp; the nugget,<br \/>\n&#8211;&nbsp; the description,<br \/>\n&#8211;&nbsp; as good a start as any, and<br \/>\n&#8211;&nbsp; a work draft.<\/p>\n<div style=\"margin-left: 50px;\"><u>The nugget<\/u><\/p>\n<div style=\"margin-left: 50px;\">INT. CORPORATE BLOCK &#8211; DAY<\/p>\n<p>TWO SUITS cook up a plan.<\/p><\/div>\n<p>\n<u>The description<\/u><\/p>\n<div style=\"margin-left: 50px;\">INT. MONOLITHIC CORPORATE BLOCK &#8211; AFTERNOON<\/p>\n<p>BOUFFANT and COIFFURE walk and talk about BALDY&#8217;s imminent death.<\/p><\/div>\n<p>\n<u>As good a start as any<\/u><\/p>\n<div style=\"margin-left: 50px;\">INT. ROTHERAY &#038; TEMPLAR OFFICES &#8211; AFTERNOON<\/p>\n<p>JAMESON RODERICK and TREVOR ALMOND prowl the open-plan offices and corridors.<\/p>\n<div style=\"text-align: center;\">RODERICK<br \/>\n[PLACE HOLDER:  confident growls<br \/>\nof world domination]<\/p>\n<p>ALMOND<br \/>\n[PLACE-HOLDER:  squeaky noises of <br \/>\ndissension]<\/p>\n<p>RODERICK<br \/>\n[PLACE HOLDER:  growly grunts of <br \/>\nalpha-maleness]<\/div>\n<\/div>\n<p>\n<u>A work draft<\/u><\/p>\n<div style=\"margin-left: 50px;\">INT. OPEN-PLAN OFFICES, ROTHERAY &#038; TEMPLAR BUILDING &#8211; EVENING<\/p>\n<p>RODERICK JAMESON and TREVOR ALMOND walk and talk as paralegals, interns and secretaries work into the night.<\/p>\n<div style=\"text-align: center;\">ALMOND<br \/>\nDid -.  Did you &#8211;<\/div>\n<p>\nHis more athletic companion glares at him as a BEAVER-LIKE INTERN cuts in:<\/p>\n<div style=\"text-align: center;\">BEAVER<br \/>\nSorry to interrupt, Mr Jameson,<br \/>\nbut Sir Templar asked me to<br \/>\ngive you this.<\/div>\n<p>\nRoderick relieves him of an UNMARKED ENVELOPE and, after a microbeat, the intern takes the hint and disappears.<\/p>\n<div style=\"text-align: center;\">ALMOND<br \/>\n(off envelope)<br \/>\nIs -.  Is that &#8211;<\/div>\n<p>\nRoderick steers his cream-doughnut-loving toady towards &#8211;<\/p>\n<p>INT. CONFERENCE ROOM &#8211; CONTINUOUS<\/p>\n<p>&#8211; where Almond slips out of his grip and takes a trembling breath:<\/p>\n<div style=\"text-align: center;\">ALMOND  (CONT&#8217;D)<br \/>\nI -, I&#8217;ve changed my mind.<\/div>\n<p>\nThey stare at each other for a long beat.  Almond, of course, looks away first.<\/p>\n<div style=\"text-align: center;\">RODERICK<br \/>\nIt&#8217;s too late.<br \/>\n(off Almond)<br \/>\nIt is done.<\/div>\n<p>\nOUT ON Almond: there&#8217;s no turning back now.<\/div>\n<\/div>\n<p>As you can see, each draft gains more depth and colour and tone &#8211; I&#8217;m building on what&#8217;s gone before and with each tiny step I&#8217;m that much closer to what I want.  What I wanted in the first place and what I end up writing may be two very different things but that&#8217;s for another post.  What matters is that I&#8217;ve now got something to <i>really<\/i> work with.<\/p>\n<p>Another seventy-or-so more scenes to go.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>From November 2007: Let&#8217;s say I have to write a scene with corporate suits speaking corporate-speak. I want it to be fluid &#8211; a language that&#8217;s appropriate to the characters but still accessible to the audience. Minutes and minutes of talking heads yakking at each other &#8211; but interesting. Touchstones are Oliver Stone&#8216;s JFK, the &hellip; <\/p>\n<p class=\"link-more\"><a href=\"https:\/\/dfmamea.com\/blog\/flashback-roughing-it\/\" class=\"more-link\">Continue reading<span class=\"screen-reader-text\"> &#8220;FLASHBACK:  Roughing It&#8221;<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_exactmetrics_skip_tracking":false,"_exactmetrics_sitenote_active":false,"_exactmetrics_sitenote_note":"","_exactmetrics_sitenote_category":0,"advanced_seo_description":"","jetpack_seo_html_title":"","jetpack_seo_noindex":false,"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","_links_to":"","_links_to_target":""},"categories":[4],"tags":[],"class_list":["post-1246","post","type-post","status-publish","format-standard","hentry","category-scriptwriting"],"jetpack_featured_media_url":"","jetpack_likes_enabled":true,"jetpack_sharing_enabled":true,"jetpack-related-posts":[],"_links":{"self":[{"href":"https:\/\/dfmamea.com\/blog\/wp-json\/wp\/v2\/posts\/1246","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/dfmamea.com\/blog\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/dfmamea.com\/blog\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/dfmamea.com\/blog\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/dfmamea.com\/blog\/wp-json\/wp\/v2\/comments?post=1246"}],"version-history":[{"count":0,"href":"https:\/\/dfmamea.com\/blog\/wp-json\/wp\/v2\/posts\/1246\/revisions"}],"wp:attachment":[{"href":"https:\/\/dfmamea.com\/blog\/wp-json\/wp\/v2\/media?parent=1246"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/dfmamea.com\/blog\/wp-json\/wp\/v2\/categories?post=1246"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/dfmamea.com\/blog\/wp-json\/wp\/v2\/tags?post=1246"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}