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Usenet Posted 21 years ago
Screenwriting
How to handle non-realistic descriptions
Sorry for posting this again. I haven't done newsgroups in a while.
I've been trying to learn dramatic writing for a while now, and I have a bit of a dilemma. My interest lies in fairy tales, mythology, and fantasy. Part of what makes these genres (for lack of better terms) what they are is that they include events, characters, and objects outside ordinary experience. In many cases, the appearance of these things carry great symbolism. How do I satisfy the demand for brevity in description while not undermining the wealth of symbols in these types of stories?
I've been trying to learn dramatic writing for a while now, and I have a bit of a dilemma. My interest lies in fairy tales, mythology, and fantasy. Part of what makes these genres (for lack of better terms) what they are is that they include events, characters, and objects outside ordinary experience. In many cases, the appearance of these things carry great symbolism. How do I satisfy the demand for brevity in description while not undermining the wealth of symbols in these types of stories?
Top answer
02; I've never seen a fantasy screenplay which was hurt by too brief descriptions, so I think you should err on the side of less. ' Because as a screenwriter, your creations are going to be physically (or digitally) created by a team of skilled craftsmen and artisans. A creature's appearance may have symbolic value, but so do many other things which are added to a screenplay by people other than the writer: a character's clothes should almost never be described in detail by the writer, and yet a good costume designer will find clothes that reveal character.
- 02; I've never seen a fantasy screenplay which was hurt by too brief descriptions, so I think you should err on the side of less.
- ' Because as a screenwriter, your creations are going to be physically (or digitally) created by a team of skilled craftsmen and artisans.
- A creature's appearance may have symbolic value, but so do many other things which are added to a screenplay by people other than the writer: a character's clothes should almost never be described in detail by the writer, and yet a good costume designer will find clothes that reveal character.
- The way a room is painted or decorated reveals details about character, but, again, at a level of detail which the writer usually doesn't bother with.
- So it is with your creatures -- give them enough description so that their story functions are unambiguous, but don't get boggled in too many details.
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6 Answers
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[nq:1]How do I satisfy the demand for brevity in description while not undermining the wealth of symbols in these types of stories?[/nq]
My $.02;
I've never seen a fantasy screenplay which was hurt by too brief descriptions, so I think you should err on the side of less. You need to paint a picture in the mind of the reader, yes, but that should be your goal -- not 'symbolism.'
My $.02;
I've never seen a fantasy screenplay which was hurt by too brief descriptions, so I think you should err on the side of less. You need to paint a picture in the mind of the reader, yes, but that should be your goal -- not 'symbolism.'
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[nq:1]Sorry for posting this again. I haven't done newsgroups in a while. I've been trying to learn dramatic writing for ... I satisfy the demand for brevity in description while not undermining the wealth of symbols in these types of stories?[/nq]
The importance of symbolic things are shown by the reactions of your characters to them. Even a pebble could be highly symbolic and important if y
The importance of symbolic things are shown by the reactions of your characters to them. Even a pebble could be highly symbolic and important if y
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[nq:1]Sorry for posting this again. I haven't done newsgroups in a while. I've been trying to learn dramatic writing for ... I satisfy the demand for brevity in description while not undermining the wealth of symbols in these types of stories?[/nq]
The key is the perspective, in my opinion.
(Excuse the crappy writing)
"Frank stands underneath a lone oak tree and surveys a la
The key is the perspective, in my opinion.
(Excuse the crappy writing)
"Frank stands underneath a lone oak tree and surveys a la
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[nq:1]"Frank stands underneath a lone oak tree and surveys a land of green, knee-high grass. As he turns he comes ... with a white unicorn." From a reader's perspective two completely different places have been described because one word was changed.[/nq]
Great example, by the way!
-Ron
Great example, by the way!
-Ron
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[nq:2]Sorry for posting this again. I haven't done newsgroups in ... undermining the wealth of symbols in these types of stories?[/nq]
[nq:1]The importance of symbolic things are shown by the reactions of your characters to them. Even a pebble could be highly symbolic and important if your characters treat it that way.[/nq]
For what it's worth...
I thought I'd take something comm
[nq:1]The importance of symbolic things are shown by the reactions of your characters to them. Even a pebble could be highly symbolic and important if your characters treat it that way.[/nq]
For what it's worth...
I thought I'd take something comm
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I enjoyed that. Thankyou.
[nq:2] The importance of symbolic things are shown by the ... symbolic and important if your characters treat it that way.[/nq]
[nq:1]For what it's worth... I thought I'd take something common, like a grasshopper and try to make it important -- ... of the grasshopper. Its thorny legs are about the only bits recognizable. ISABELLE Where hope died, so will I. [/nq]
[nq:2] The importance of symbolic things are shown by the ... symbolic and important if your characters treat it that way.[/nq]
[nq:1]For what it's worth... I thought I'd take something common, like a grasshopper and try to make it important -- ... of the grasshopper. Its thorny legs are about the only bits recognizable. ISABELLE Where hope died, so will I. [/nq]
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