Video scriptwriting provides the action plan for video production, Particularly in the corporate world, where words need to be approved before production.

I have developed five steps to making sure my scripts help production people create best videos possible- ones that work as multimedia devices, take advantage of the medium, and motivate much the same way as a great movie or TV show.

1. You’re not on TV. And you are not the star. The least impressive form or video communications is the talking stand-up reporter approach. The writer or producer decides it would be fun to pretend they’re on 60 Minutes or CNN, hires a good voice or a pretty face to wear a trench-coat and business suit, and then proceeds to put words in their mouth telling us how great the product or company is.

How would THEY know?

Authority is important in any sale or marketing video, but authority comes from product features, end users, or company experts- not a can of hair spray. He or she might be cute, and might be the next Deborah Norville. They just don’t belong in your video.

In addition, it’s cheating. For every second they’re standing there telling us about something, we could be seeing it, hearing it, experiencing it. And the production dollars saved? Enormous. But you’re cheating the audience and the audience knows it.

2. Words only when necessary. It’s easy to write a script. Go to Word, or Pages, or some other software and create two parallel columns. At the top of one type “Audio”. On the top of the other type “Video.”

See? Two elements- what’s seen and what’s heard.

Most often, we will begin writing with what’s heard, because that’s how we think it through. But why start with words? Why not start with a visual? Music? Sound Effect?

I remember a piece we did years and years ago.

It started with a sunrise, the chirping of birds, the sounds of turbines starting, and a loading dock door being opened. That took about 15 seconds. If we had used words to paint that picture, it would have taken perhaps a minute.

But now, all the announcer had to say was…..

”Dawn. At Leeson Motors.”

And the audience knew that this company takes the workday seriously, they have a large plant (exterior shot of the sunrise had the plant in the foreground, a fleet of trucks, and a zest for life.

Contrast that with just showing the logo and hearing an announcer say,

”Every Morning at Leeson Motors in Waukeegee, Ohio, we get to work early and appreciate the sunrise, see the dew on the grass, hear the birds, fire up the engines, open our doors, begin the shipping process, and thank the almighty that it didn’t rain today.”

In short, words only when necessary.

3. Write for the Ear. When words ARE necessary, write like you talk. No not those words. What I mean is, write conversationally. As we pointed out, words take time. And people don’t speak in complete sentences.

I remember writing a commercial that was a take off on the old cop show “Dragnet”.

My first draft began….

Offscreen VOICE OF FRANK: This is the city, Los Angeles, California. A nice place, at least most of the time. But on this day, on a routine patrol, my partner Frank and I spotted a suspicious character, his arms filled with loot. Books, records, painting… it had to be a break in.

We got out of the car and I said….

FRANK (ONSCREEN): Hold it Mister, what have you got?”

There was just one problem with all this- the commercial was thirty seconds, and I had just eaten up all thirty seconds uses words to paint the scene.

After a short confab with one of my business partners, also a writer, we revised it thusly:

OFFSCREEN VOICE OF FRANK: The city. We spotted him. Books, records…. Had to be a break-in.”

FRANK, now on screen: Hold it Mister, What have you got?”

The visuals, clearly called out in the VIDEO column, told the rest of the story nicely:

Establishing Shot City

Frank and Partner in police car

Suspicious person walking down what might be a brick alley with arms loaded with Library items

Cut to Joe and Frank (head and shoulders) , with red light pulsing in background

FRANK, now on screen: Hold it Mister, What have you got?”

If you’d like to see a sample of the (ancient) Dragnet TV spot to see how sounds and visuals painted the picture, go to http://vimeo.com/1627426.

4. Give the audience a break. Every so often, take a breather. Run a short sequence of music and pictures, so they can catch up and absorb what you’ve thrown at them. This gets more complicated, but audiences can only handle so much, and if you distract them or wear them down, they won;t retain what your asking them to, or they might even rebel and turn their minds off.

5. End Big. This doesn’t mean World War II with the original cast, but it does mean to give your audience signposts so they know where they’re at in your video. I always use music to change the pace, but toward the ending, you need a finale, and finales don’t fade, they echo. A recap tells them its over, and a musical crescendo tells them it’s over. Music that ends in “threes”- restating the musical theme line three times- is pretty much a ta-da! Never leave them hanging, but always finish big, and finish before they’re bored. A good example is this opener produced for Underwriters’ Laboratories 100th Anniversary. Note the ending of the music- it uses a “triple”- this builds emotion and sends the signal to anticipate what comes next, while indicating the this part of the meeting- the opening video- is over. To view this sample, go to http://vimeo.com/452012.

Scriptwriting is the backbone of the successful multimedia project. Knowing that words are only part of the equation will help you write or review scripts on a much higher level.

You have a movie script which you believe would get the attention of movie enthusiasts, critics, eagles, pundits and record a box office hit! Where do you go from here ?, who do you submit it to? how do you ensure that you are not denied access to the door that would usher you in to glory and fame land, for one wrong move can be catastrophic ?. In Nollywood, and I’m sure it obtains in other Movie industries as well, rookies are tagged as “unknown personalities”. It is therefore risky to submit unsolicited movie scripts.

Rookies run in to brick walls based on the fact that:

1)      The producer / film maker did not request for the script, you therefore submitted at your own risk!

2)      Your name doesn’t ring a bell!, therefore it’s easy to use the scripts and cover their tracks

3)      They have so much work on their hands at the moment but they’ll try and read it

4)      They let you know they’re not interested in it, better luck elsewhere (after you’ve been there for the umpteenth time)

5)      Months later you get to see the modified version of your story on vcd/dvd produced by the company and the credits given to another. Due to lack of evidence to prosecute the erring movie practitioner, the script writer is left to lick his wounds

These few tips will come in handy when submitting scripts:

1)      There are many producers/film makers in Nollywood (charlatans and professionals), therefore deal with one who is a member of the Association of Movie Producers

2)      Make enquiries about those who have an untainted record of honesty,  integrity, transparency, diligence, commitment to excellence and uphold the Industry’s best practices, and know those who don’t

3)      Make a list of the professionals you have chosen and begin to narrow down your search to the specifics (certain producers/filmmakers are interested in a particular genre, so you’ve got to know who best aligns with your theme)

4)      Call to book an appointment (don’t just show up at the office), and don’t disclose the reason for wanting to see him as you might just be turned down instantly with the excuse of having other scripts to consider.

5)      On the set date go in the company of some one else(preferably a business colleague rather than your siblings, or  mere friend)  for credibility sake in case things go wrong

6)      Your general appearance and attitude is important (composure, posture, hair, clothes). Don’t show anxiety, fear, or desperation simply because you are seating before one who is important in the Industry. Remain cool, calm and collected

7)      Maintain eye contact , and observe his body language which is very important here. 70% of communication is non- verbal (body language)

8)      Use the rapport / mirror’s principle (you do something you see the person do with regards to body language). It generates a high level of comfort and assurance.

9)      Listen attentively to what he’s saying. Listening makes you know the kind of person you’re speaking with and what strategy to adopt. It helps you ask vital questions, gives you time to observe the body language of the person, and how you’d respond to certain issues . You’ll also get the subtle intent of where he’s headed

10)  When the conversation is over, he might ask you to drop the manuscript. Don’t ! Inform him that you’ll get another copy ready for him on “ X day”. You mustn’t  submit the original copy of the script

11)  On “X day”, don’t hand over the script to him personally, make the delivery an official one. Prepare a letter based on the discussion of both parties on “W day” (remember to include that your business colleague was there, but in a subtle way), talk about why you’re submitting it, contact details and the fact that you’re submitting a copy of the script, together with the synopsis. Most importantly, let the secretary acknowledge receipt of the letter  on the photocopy you made of the original one (for your records), then submit.

12)   Don’t forget to have a well drafted clause , invariably to protect your work. you might have to see a lawyer for that.

As a rookie you might not get well paid for your first job, but that can change if you’ve got the right story. Keep at it no matter what, and when it’s time for you to emerge in to stardom no one can stop you!  I’ll  also advice  that rookies should also learn the art of screen writing which will certainly act as a catalyst in boosting their rise to fame and fortune.

So long … auggiepo@yahoo.com

Article URL: http://www.bluecatscreenplay.com/About/how_to_start_a_screenplay.phpCopyright © 2006 BlueCat Screenplay Competition

Winner of the Waldo Salt Screenwriting Award at the Sundance Film Festival for LOVE LIZA , Gordy Hoffman has written and directed three digital shorts for Fox Searchlight. He made his feature directorial debut with his script, A COAT OF SNOW, which world premiered at the 2005 Locarno International Film Festival. He is also the founder of the BlueCat Screenplay Competition. Dedicated to develop and celebrate the undiscovered screenwriter, BlueCat provides written screenplay analysis on every script entered. In addition, Gordy acts as a script consultant for screenwriters, offering personalized feedback on their scripts through his consultation service, www.screenplaynotes.com. For more articles by Gordy on screenwriting, visit www.bluecatscreenplay.com.

Let’s begin to understand the difference between screenplays and scripts by having a look at the definitions of the terms used to refer to the writing tasks of the two types of entertainment industry documents.Screenwriting (not Screen Writing):

Screenwriting, sometimes written as Screen Writing, which is no more a valid method of writing the term in almost all of the Hollywood but in few other parts of the world, is the term given to the task of screenplay writing. Scriptwriting or Script Writing:

Scriptwriting or Script Writing is the term given to the task of script writing.

What most people should not do, but do is confuse screenwriting with scriptwriting or script writing. Although screenwriting and scriptwriting are not totally different, they are still two different mediums of media writing.

A script for a talk show, news, infotainment program, etc, whether on TV or radio, cannot be termed as a screenplay. On the other hand, a screenplay of a movie or TV program that is presented in a dramatic narrative with scenes and dialogues can be termed as a script. Why? Because a screenplay is a form of script and not opposite is the case.

Here is what Film Terms glossary of the Babylon dictionary says about a screenplay:

A document text in a specific format which contains the dramatic elements of the film, as well as indications of other elements such as setting, light values, action, and, in general, everything which it is essential to see on the screen from the point of view of the whole narrative; in its relationship to the completed film, a screenplay is sometimes described as being analogous to a blue print of a structure. The analogy is true up to a point, but in fact there is no other kind of text which has the specific characteristics and constraints of a screenplay. And no other text which, when successful at attaining its goal–i.e., the finished film–effectively ceases to exist except as a historical and critical curiosity.

And here is what the Babel glossary says about a script:

A general term for a written work (and with special reference to the entertainment industry) detailing story, setting, and dialogue. A script may take the form of a screenplay , shooting script , lined script, continuity script , or a spec script.Copyright (C) 2007-2008 M.d Tabish Faraz. All Rights Reserved.