Tuesday, 7 February 2006

Six Feet Under

Last night I wrote four very important pages of the new "Timespotters" script, and although I won't discuss plot or themes here (have a look at this blog's title, that's all I'm saying!) I thought I just had to comment on last night's writing.


Normally when I write I'm constantly noticing the flaws in the plots, or themes or whatever. I like to put myself down, in order to make my writing better. And usually I'm right when it comes to these analysis'. Last night, after carefully constructing the themes and plots over six long months, my attention turned to something new, something I've been noticing more and more in my work lately, not for its brilliance, but its flaws. I can't write dialogue to save my life.

And boy is that a bad thing. Very bad. Hopefully, during the rewrites it will improve tenfold (it can't get any worse, lets put it that way!). Take last night's writing as a prime example. I set up this really creepy scene (you're gonna love it) and then my dialogue hits, and instantly that built up atmosphere is lost. Dialogue is key to television writing, the very opposite of film where pictures tell much of the story. In TV, spoken words allow us as an audience to fully explore a character on screen, to accept them as our hero or villain, and it allows us to 'bond' with them in a way. Currently my dialogue is just 'rip-your-hair-out-bad', and its clear that this has to be my main focus in rewrites. I need this script to speak to the audience, to speak for the characters on screen, and most importantly, for the script to speak for me. It doesn't yet. But I'll be damned if I give up on it now, after coming this far. It's merely another obstacle for myself to overcome. And I'm not somebody who's willing to let things stand in their way.

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