Word Dancer, could you explore some no dialogue options in a future episode? I think you would agree that there are some scenes where dialogue would ruin the scene in some way. The examples that easily come to mind are the old silent movies or any modern horror movie. For instance, if Ripley in Alien kept muttering about how scared she was, it would have released the tension from just watching her creep through the spaceship, trying to avoid being mauled by the alien. That's the easy stuff, since silence is an inherent part of the scene. Is there a scene that you can think of that could have had dialogue and it would have been fine, but didn't and was better OR perhaps you know of a scene that was okay, but you are able to edit it by dropping the dialogue and make it better (ANAKIN, "I hate sand, because it is coarse and pointless to talk about..") Also, if someone were to write a low or no dialogue script, what kind of implications would that have on the screenplay, such as the page count or readability?
another excellent reminder of why we write...reality is free...you buy a ticket to see something you can't get outside the theatre-good point word dancer.
Yes, that's great... "A always, B be, C closing!" You win a set of steak knives for that suggestion! I vote for almost any scene in "52 Pickup" with THREE, count 'em, THREE great villains!
Great video. Much of the build up information prior to Clarice meeting Lecter for the first time derives from Thomas Harris' novel, I think, but all the same, it's a great example of building tension prior to the event. And credit to the film makers for showing us Starling's extended journey down to reach it and the mediaeval torture chamber easthetic when she gets there.
Hello. First of all thanks for your videos. I have a question... I have written a few stories/ screen plays however I'm just learned how to properly format them. On a previous video you named several different writing software. My question is as a beginner should I use final draft (I think that's what it's called) or is there a easier one to use for beginners? Thanks in advance.
Hi Gary, I actually made a full course using a software program that is free to use for your first three scripts. I teach how to use the program and how to format at the same time: www.screenwritingclassesonline.com/courses/screenplay-format-zero-to-boss-word-dancer-best-screenwriting-software It uses the one I like the best for new screenwriters.
I could never buy Anthony Hopkins as Lecter because he looks almost just like my grandpa. And my grandpa was the nicest person who was a war vet and single handedly saved a village of 10, 000 in Europe. I liked Brian Cox the best in Manhunter. He REALLY creeped me out! Quite frankly, I was more freaked out by the psychologist in TSOTL; Anthony Heald. Wow, his name's Anthony too! Wonder if that helped get him hired. Also, what is the deal with SOOOOOOO many people being named Jack, or John, or even Jake?
Yes, Dr. Chilton was to me creepier, but he was namby pamby, no power. Lecter oozed power. I think Brian Cox would've done well, but Hopkins' urbane, sleek manner gave a good contrast to his inner self, as came out later in his "cage." The contrast at the end between the fearful Chilton and the calm Lecter, already waiting for him in Bimini, made me want to see what happened there, too, although I know what was likely to happen. Speaking of "Manhunter," how about that extremely scary Francis Dolarhyde? Tom Noonan did a great job, esp. in the scene with the reporter tied to a wheelchair. I'll never forget the next scene after that (trying not to spoil). Fiennes did a great job, too ("Do you see?") but I was more moved by "Manhunter" than by "Red Dragon." Kudos for that huge tattoo, though.
Hi, "Wendy"! (I like that nickname, given the abbreviation of "Word Dancer" being WD! ^^) I have a bit of a lenghty post to write. Essentially, my question is whether you have covered this in the past or would be interested in covering this in the future? Either way, I'm sure this is a topic you'll find interesting! A friend recently gave some feedback on the first 12 pages of my script. He was telling me that I should spice up my dialog since "everyone seems to agree with each other," and that there's no tension between the characters during these pages. I got a little upset with that comment because I find "spicy dialog" to be a bit of a cheap trick and a bit of a clichéd way of creating tension. Besides, I get connotations to action movies when I think about that kind of dialog, whereas I am writing a drama. This made me realize that some genres have stories that may be more difficult to describe on the page than others. Of course, it takes a tremendous job to create a story (an outline) for each genre, and it also takes time to find the ideas for how each scene will play out. But *getting those ideas down on page* might be much easier in some genres than others. Example: An action/comedy might be easy to "write." Why? Because the traits of the genre consist of particular dialog and events -- things that are easy describe on page. In other words, *the communication of the writer's vision* is easy in some genres: in particular, the vision for an action/comedy might be much easier to put into screenplay format than the vision for other types of stories. The ideas that the writer has, easily match the possibilities of the screenplay format. I am myself writing a drama. Some of the scenes in my story aren't always about interpersonal conflicts: Sometimes, the characters are passionate about something. Sometimes, they're curious, and want to learn things. In many scenes, it is *the emotional state of the characters and the atmosphere* that carry the strength of the scenes -- not particular events or moments of speech. These things are hard to put into words (in screenplay format). Therefore, the chance is higher that the readers of the script will find several scenes boring, because the vision that I have (which they may actually like) is hard to communicate for this particular story. So how do I communicate this vision? Do I always specify that a melancholic or tense character speaks slowly (to emphasize the emotional weight she's going through)? Do I write in a lot of body language to express emotions (sometimes, the way we express emotions is just stares and tone of voice)? When the strength of a scene exists beyond spoken words (the content) and particular events, how do I communicate these aspects? I hope you find this topic interesting! I believe it can be named, "Communication of the writer's vision in different genres." Best! Stian
I am making a course at the moment that can address this (Lip Smacking Dialogue which will be on my site www.screenwritingclassesonline.com) . Usually many "dialogue" problems are caused by bigger issues. Lack of conflict and lack of action with too much weight on dialogue will cause dialogue issues. Finding ways to externally express these complicated ideas in actions and visuals and not expecting everything to be conveyed in dialogue can go a long way to helping the issue. If we are just watching a character feel things and talk about their feelings, not always interesting. Example: in Erin Brockovich, she's very frustrated with her life. But we don't get a calm scene were she talks about how frustrated she is. We get her smashing water bugs that have invaded her home and her frustration with everything is acted out. Try to find ways other than dialogue to express what's happening. Dialogue isn't bad, but when given too much weight, it will bog things down. And watch character motivations. Character problems will cause dialogue issues. They don't always have to have conflict in every scene, but they need strong overall problems and goals.
Thanks for the response. That's a course I'd be very interested in! As an example of the "problem" I'm struggling with, the first scene (counting from "present day") takes place at work. I know you've covered the boring "hi and hello" scenes that must be avoided, and I was actually very aware of this when writing that scene. Instead of focusing on spectacular one-liners or tense conversation, my vision for the scene was to display the passion the characters have for their work. They're working at a research facility, and I want to show the audience that the characters are proactive, and have ambitions. As such, I don't think it would fit to introduce a conflict in between characters (besides, there are many other conflicts / story goals to pay attention to). So "passion" and "harmony" are supposed to be keywords to this particular scene. But from a reader's perspective, I can agree that the dialog doesn't look very spectacular (I did work on it, though, so I do think it has fluency). But visually, I think the audience will love a scene where characters show passion and excitement. I hope this gives you some more ideas on what to cover in your courses! :) This sentence gives me hope that I can accomplish what I have in mind: "Finding ways to externally express these complicated ideas in actions and visuals and not expecting everything to be conveyed in dialogue can go a long way to helping the issue." Thanks! :)
If you don't mind me using your scene for a video, there are many ways we could get conflict in there while still showing passion. Unless they work at a job where absolutely nothing ever goes wrong and there are no deadlines or challenges. Too much harmony will make their job look too easy. Not challenging. So we won't appreciate their passion when what they do is so easy.
I would be happy to have you use this scene as an example. Truthfully, I don't know whether it lacks something or not. Here's a basic overview of the workplace scene: -- At the Reception Desk: Receptionist (she has other functions too) reports to main character about a conference she attended and says "they'd like to hear from you soon." Some chatting here too, but I was intentionally trying to convey some personality, and not just be "all about plot." -- At Study Room: Main character talks to someone about his PhD project, which is in its final stages. She gives him short feedback on a chapter she read through. -- Meeting Room: Main Character, together with associates, are going to prepare for an upcoming conference, which takes place the next day. (This conference is the next scene.) Some info about the conference (in case it's helpful): It's a conference about mental health, where they will be showing philosophical research of value + interesting findings from a collaborate project between people of different fields: philosophy, psychology and neuroscience. Altogether, the workplace scene is about 5 minutes in length, and mostly 6. I was hoping that the anticipation would be of value here, since there are no conflicts in the traditional sense. I'll be happy to see your take on how to make this (or a similar scene) more interesting. Let me know what course it'll be part of, if it's not going to be up on TH-cam.
Send the scene to worddancerla@gmail.com if you would like. It *might* either be part of a course or a youtube and I will let you know:) If you would pay money to sit and watch people work at their jobs that they like during a typical day when not much is happening, it's fine:) If you want more for entertainment, it need might need some help. The trick of a screenwriter is being able to convey personality while furthering the plot at the same time -- those things are not mutually exclusive. Be careful of resting on things being "interesting" -- that's trying to get the audience at the head level when they want you to get them at the heart. Documentaries are good for things that are interesting, but even there they need some drama and pacing. A "story." Something else that stands out to me is that they will present "interesting findings" across many disciplines. A single main point could be stronger. Sometimes less is more. I think you are bringing up issues in writing scenes and characters that many other writers are thinking about and this could help them greatly.
She's pretty awesome when it comes to teaching. She's pretty and has a voice that doesn't irritate my eardrums. I'm just having a hard time finding out her name so I could tell other people about her. Could anyone help me with that?
Hi Word Dancer. For some reason I have found myself going from trying to write lyrics to now wanting to try my hand at screen writing.. My question for you is, what if your screenplay is based on a true story? Do you need permission for legal reasons. Or do you just put 'based on a true story' on the title page? And if it is based on a true story how do people at Hollywood find these type of scripts?
Interestingly, Shakespeare seems to have followed your advice in Hamlet. Essentially, Hamlet’s dramatic beats are: 1. Ah! Ghost!... 2. Damnit, mum’s a whore... 3. Ah! Ghost!...4. Hamlet: “I love you.” Ophelia: “I’m breaking up with you.” Hamlet: “Whore!” Ophelia: “Sob.” Hamlet: “I love you.” Ophelia: “I love you too, but for dramatic purposes I must now lie to you.” Hamlet: “Whore!” Ophelia: “Sob.”... 5. To be or not to be... 6. Kill the King!... 7. Kill mum!... 8. Kill Polonius!... 9. Kill mum!... 10. Ah! Ghost!...11. Run Run! Run Away!... 12. Fight Pirates... 13. Fight Laertes…. 14. Fight Laertes Redux… 15. Somebody killed mum!... 16. Kill the King!... 17. Hey, Laertes is dead... 18. Hey, I’m dead… 19. Hey, I’m dying here. 20. Die
Dear Word Dancer, Please ruin the Die Hard (First) "Welcome to the party, pal!" Scene how John McClain finally gets police help for the hostage situation. Thank you!
@@worddancer-howtowriteascre9144 Fair piece of advice, if you're on the internet and you're worried about trolls you're in the wrong business. Trolls shouldnt bother nor phase you, and to add more shit to the boiling pot you have trolls that can hack your IP address and find your real home address. Like i dont mean to shit on your vision what ever that may be for your youtube channel. But your name should be the least of your worries, you have millions of people with the same name...i just hope you're not hiding your name so that people cant search up your past work and see if listening to you on youtube is really worth it or not.
I wanted to know the same thing. It's good to know the names of those that help you through the struggle. But I respect the reason why she rather is incognito
I think I will ruin Pulp Fiction next:) Any other suggestions of scenes to ruin?
Titanic
Word Dancer, could you explore some no dialogue options in a future episode? I think you would agree that there are some scenes where dialogue would ruin the scene in some way. The examples that easily come to mind are the old silent movies or any modern horror movie. For instance, if Ripley in Alien kept muttering about how scared she was, it would have released the tension from just watching her creep through the spaceship, trying to avoid being mauled by the alien. That's the easy stuff, since silence is an inherent part of the scene.
Is there a scene that you can think of that could have had dialogue and it would have been fine, but didn't and was better OR perhaps you know of a scene that was okay, but you are able to edit it by dropping the dialogue and make it better (ANAKIN, "I hate sand, because it is coarse and pointless to talk about..")
Also, if someone were to write a low or no dialogue script, what kind of implications would that have on the screenplay, such as the page count or readability?
I like that one:)
Interesting. I'll put it on the list.
The Dark Knight has some juicy Antagonist creation and conflict between the Protagonist examples
another excellent reminder of why we write...reality is free...you buy a ticket to see something you can't get outside the theatre-good point word dancer.
Thanks, Mark!
Thanks so much for this it’s helping me become a good screenwriter!
Yes! Pulp Fiction. Maybe the scene in Glenn Gary Glenn Ross when Baldwin gives his presentation.
I will check it out!
Yes, that's great... "A always, B be, C closing!" You win a set of steak knives for that suggestion!
I vote for almost any scene in "52 Pickup" with THREE, count 'em, THREE great villains!
Great video. Much of the build up information prior to Clarice meeting Lecter for the first time derives from Thomas Harris' novel, I think, but all the same, it's a great example of building tension prior to the event. And credit to the film makers for showing us Starling's extended journey down to reach it and the mediaeval torture chamber easthetic when she gets there.
I only came across your channel now. Thank you so much for the information, I'm getting better.
You're the reason I'm a make it to Hollywood.
I love your videos! You point out alot of things we have a tendency to over look, forget, or haven't even known.🤔 🍕 for thought!
Thanks teach!😎🖒
Thanks, Jeremy!
Amazing! Another excellent lecture!
Thanks, Eduardo!
Another great video! Thanks WD!
Thanks, Doug!
very helpful as always thanks
Thanks, James!
I love that you're ruining movies! It's clever and helpful, keep it up!
Thanks, Meg! It's so much fun!
Hello. First of all thanks for your videos. I have a question... I have written a few stories/ screen plays however I'm just learned how to properly format them. On a previous video you named several different writing software. My question is as a beginner should I use final draft (I think that's what it's called) or is there a easier one to use for beginners? Thanks in advance.
Hi Gary,
I actually made a full course using a software program that is free to use for your first three scripts. I teach how to use the program and how to format at the same time:
www.screenwritingclassesonline.com/courses/screenplay-format-zero-to-boss-word-dancer-best-screenwriting-software
It uses the one I like the best for new screenwriters.
yessss !!! i love your video !!!
Thanks, Elis!
I can dig it. Zanks!!! #respect
Im writing a screenplay right now
If it’s finished in like 2 weeks would you read it and give me tips on it??
I could never buy Anthony Hopkins as Lecter because he looks almost just like my grandpa. And my grandpa was the nicest person who was a war vet and single handedly saved a village of 10, 000 in Europe. I liked Brian Cox the best in Manhunter. He REALLY creeped me out! Quite frankly, I was more freaked out by the psychologist in TSOTL; Anthony Heald. Wow, his name's Anthony too! Wonder if that helped get him hired.
Also, what is the deal with SOOOOOOO many people being named Jack, or John, or even Jake?
Yes, Dr. Chilton was to me creepier, but he was namby pamby, no power. Lecter oozed power.
I think Brian Cox would've done well, but Hopkins' urbane, sleek manner gave a good contrast to his inner self, as came out later in his "cage."
The contrast at the end between the fearful Chilton and the calm Lecter, already waiting for him in Bimini, made me want to see what happened there, too, although I know what was likely to happen.
Speaking of "Manhunter," how about that extremely scary Francis Dolarhyde? Tom Noonan did a great job, esp. in the scene with the reporter tied to a wheelchair. I'll never forget the next scene after that (trying not to spoil). Fiennes did a great job, too ("Do you see?") but I was more moved by "Manhunter" than by "Red Dragon." Kudos for that huge tattoo, though.
@@KutWrite Dolarhyde WAS terrifying!
Is your online class still available I think I might do it.
Still available
Hi, "Wendy"! (I like that nickname, given the abbreviation of "Word Dancer" being WD! ^^)
I have a bit of a lenghty post to write. Essentially, my question is whether you have covered this in the past or would be interested in covering this in the future? Either way, I'm sure this is a topic you'll find interesting!
A friend recently gave some feedback on the first 12 pages of my script. He was telling me that I should spice up my dialog since "everyone seems to agree with each other," and that there's no tension between the characters during these pages.
I got a little upset with that comment because I find "spicy dialog" to be a bit of a cheap trick and a bit of a clichéd way of creating tension. Besides, I get connotations to action movies when I think about that kind of dialog, whereas I am writing a drama.
This made me realize that some genres have stories that may be more difficult to describe on the page than others. Of course, it takes a tremendous job to create a story (an outline) for each genre, and it also takes time to find the ideas for how each scene will play out. But *getting those ideas down on page* might be much easier in some genres than others.
Example: An action/comedy might be easy to "write." Why? Because the traits of the genre consist of particular dialog and events -- things that are easy describe on page. In other words, *the communication of the writer's vision* is easy in some genres: in particular, the vision for an action/comedy might be much easier to put into screenplay format than the vision for other types of stories. The ideas that the writer has, easily match the possibilities of the screenplay format.
I am myself writing a drama. Some of the scenes in my story aren't always about interpersonal conflicts: Sometimes, the characters are passionate about something. Sometimes, they're curious, and want to learn things. In many scenes, it is *the emotional state of the characters and the atmosphere* that carry the strength of the scenes -- not particular events or moments of speech.
These things are hard to put into words (in screenplay format). Therefore, the chance is higher that the readers of the script will find several scenes boring, because the vision that I have (which they may actually like) is hard to communicate for this particular story. So how do I communicate this vision? Do I always specify that a melancholic or tense character speaks slowly (to emphasize the emotional weight she's going through)? Do I write in a lot of body language to express emotions (sometimes, the way we express emotions is just stares and tone of voice)?
When the strength of a scene exists beyond spoken words (the content) and particular events, how do I communicate these aspects?
I hope you find this topic interesting! I believe it can be named, "Communication of the writer's vision in different genres."
Best!
Stian
I am making a course at the moment that can address this (Lip Smacking Dialogue which will be on my site www.screenwritingclassesonline.com) . Usually many "dialogue" problems are caused by bigger issues. Lack of conflict and lack of action with too much weight on dialogue will cause dialogue issues.
Finding ways to externally express these complicated ideas in actions and visuals and not expecting everything to be conveyed in dialogue can go a long way to helping the issue.
If we are just watching a character feel things and talk about their feelings, not always interesting.
Example: in Erin Brockovich, she's very frustrated with her life. But we don't get a calm scene were she talks about how frustrated she is. We get her smashing water bugs that have invaded her home and her frustration with everything is acted out.
Try to find ways other than dialogue to express what's happening. Dialogue isn't bad, but when given too much weight, it will bog things down.
And watch character motivations. Character problems will cause dialogue issues. They don't always have to have conflict in every scene, but they need strong overall problems and goals.
Thanks for the response. That's a course I'd be very interested in!
As an example of the "problem" I'm struggling with, the first scene (counting from "present day") takes place at work. I know you've covered the boring "hi and hello" scenes that must be avoided, and I was actually very aware of this when writing that scene.
Instead of focusing on spectacular one-liners or tense conversation, my vision for the scene was to display the passion the characters have for their work. They're working at a research facility, and I want to show the audience that the characters are proactive, and have ambitions. As such, I don't think it would fit to introduce a conflict in between characters (besides, there are many other conflicts / story goals to pay attention to).
So "passion" and "harmony" are supposed to be keywords to this particular scene. But from a reader's perspective, I can agree that the dialog doesn't look very spectacular (I did work on it, though, so I do think it has fluency). But visually, I think the audience will love a scene where characters show passion and excitement.
I hope this gives you some more ideas on what to cover in your courses! :) This sentence gives me hope that I can accomplish what I have in mind:
"Finding ways to externally express these complicated ideas in actions and visuals and not expecting everything to be conveyed in dialogue can go a long way to helping the issue."
Thanks! :)
If you don't mind me using your scene for a video, there are many ways we could get conflict in there while still showing passion. Unless they work at a job where absolutely nothing ever goes wrong and there are no deadlines or challenges.
Too much harmony will make their job look too easy. Not challenging. So we won't appreciate their passion when what they do is so easy.
I would be happy to have you use this scene as an example. Truthfully, I don't know whether it lacks something or not. Here's a basic overview of the workplace scene:
-- At the Reception Desk: Receptionist (she has other functions too) reports to main character about a conference she attended and says "they'd like to hear from you soon." Some chatting here too, but I was intentionally trying to convey some personality, and not just be "all about plot."
-- At Study Room: Main character talks to someone about his PhD project, which is in its final stages. She gives him short feedback on a chapter she read through.
-- Meeting Room: Main Character, together with associates, are going to prepare for an upcoming conference, which takes place the next day. (This conference is the next scene.)
Some info about the conference (in case it's helpful): It's a conference about mental health, where they will be showing philosophical research of value + interesting findings from a collaborate project between people of different fields: philosophy, psychology and neuroscience.
Altogether, the workplace scene is about 5 minutes in length, and mostly 6. I was hoping that the anticipation would be of value here, since there are no conflicts in the traditional sense.
I'll be happy to see your take on how to make this (or a similar scene) more interesting. Let me know what course it'll be part of, if it's not going to be up on TH-cam.
Send the scene to worddancerla@gmail.com if you would like. It *might* either be part of a course or a youtube and I will let you know:)
If you would pay money to sit and watch people work at their jobs that they like during a typical day when not much is happening, it's fine:) If you want more for entertainment, it need might need some help.
The trick of a screenwriter is being able to convey personality while furthering the plot at the same time -- those things are not mutually exclusive.
Be careful of resting on things being "interesting" -- that's trying to get the audience at the head level when they want you to get them at the heart. Documentaries are good for things that are interesting, but even there they need some drama and pacing. A "story."
Something else that stands out to me is that they will present "interesting findings" across many disciplines. A single main point could be stronger. Sometimes less is more.
I think you are bringing up issues in writing scenes and characters that many other writers are thinking about and this could help them greatly.
She's pretty awesome when it comes to teaching. She's pretty and has a voice that doesn't irritate my eardrums. I'm just having a hard time finding out her name so I could tell other people about her. Could anyone help me with that?
Hi Word Dancer.
For some reason I have found myself going from trying to write lyrics to now wanting to try my hand at screen writing..
My question for you is, what if your screenplay is based on a true story? Do you need permission for legal reasons. Or do you just put 'based on a true story' on the title page? And if it is based on a true story how do people at Hollywood find these type of scripts?
Ok, I now see why she doesn't give out her name. I can respect that without being a prick.
👍👍👍👍ty dancer
Interestingly, Shakespeare seems to have followed your advice in Hamlet. Essentially, Hamlet’s dramatic beats are: 1. Ah! Ghost!... 2. Damnit, mum’s a whore... 3. Ah! Ghost!...4. Hamlet: “I love you.” Ophelia: “I’m breaking up with you.” Hamlet: “Whore!” Ophelia: “Sob.” Hamlet: “I love you.” Ophelia: “I love you too, but for dramatic purposes I must now lie to you.” Hamlet: “Whore!” Ophelia: “Sob.”... 5. To be or not to be... 6. Kill the King!... 7. Kill mum!... 8. Kill Polonius!... 9. Kill mum!... 10. Ah! Ghost!...11. Run Run! Run Away!... 12. Fight Pirates... 13. Fight Laertes…. 14. Fight Laertes Redux… 15. Somebody killed mum!... 16. Kill the King!... 17. Hey, Laertes is dead... 18. Hey, I’m dead… 19. Hey, I’m dying here. 20. Die
Wow!
Dear Word Dancer, Please ruin the Die Hard (First) "Welcome to the party, pal!" Scene how John McClain finally gets police help for the hostage situation. Thank you!
There is any chance you can read my screenplay?
Yes, I do evaluations on screenplays:
www.screenwritingclassesonline.com/pages/services
+Word Dancer - How to write a screenplay -
I
Thanks, Trevor!
I thought this type of drama is created by the director not the scrneenwriter
But I like chocolate Dairy Queens!
Word Dancer, what is your real name? Just curious :)
I've given enough info that people often find my name:) But I don't give it out because of trolls. They are out there.
That's okay, I respect that
@@worddancer-howtowriteascre9144 Fair piece of advice, if you're on the internet and you're worried about trolls you're in the wrong business. Trolls shouldnt bother nor phase you, and to add more shit to the boiling pot you have trolls that can hack your IP address and find your real home address. Like i dont mean to shit on your vision what ever that may be for your youtube channel. But your name should be the least of your worries, you have millions of people with the same name...i just hope you're not hiding your name so that people cant search up your past work and see if listening to you on youtube is really worth it or not.
MyVisualSaga she actually did win the Nicholl Fellowship. Not that hard to find her name, but I won’t reveal it because that’s a breach of privacy.
I wanted to know the same thing. It's good to know the names of those that help you through the struggle. But I respect the reason why she rather is incognito
Her commentary over the good version was such a BIG TURNOFF!!!