Houston, we have achieved enough knowledge to reach the 10th edition of the Truth To Power series. Unfortunately, it is our final last post for the year - but if given another Screenwriting-like paper next year, then this may continue somewhere down the road. Keeping true to the tradition of this blog segment series, as a small-word-counted thing, we will exit by doing the same.. thing.
In this edition, I will briefly add comments about the proper use of Reversals within screenwriting, add a small pinch of comment about Subtext (as a general concept) and talk about the upcoming webisodic series that I have yet to start writing.
At the end of the screenwriting course, my understanding of Reversals is that it is used to divert the audience perspection of a character, which creates 'meaningful depth' to their persona, from something that would be expected of that character to do - to something that isn't necessarily orthodox to that character.
However, with that - reversals also include the act of the character taking a different move, than expected, to result in the failure of achieving what that character wants (external objective) and ideally, achieves something else entirely.
Although I'm still trying to get my head around it (especially with the other concept of status changes) and getting it to work for me in my upcoming series is something that I'll have to remind myself about, until I get the concept nailed down on.
Now, by what I understand, the concept of subtext is all in the implication of what a character's dialogue suggests. Of course, subtext in a well-worked manner doesn't really qualify the use of cheap double entendre of sexual terms (innuendo) - but rather requires the audience to either guess on what character's are meaning as the scene plays out or requires prior knowledge of the character, their relationships with others, a sense of their personality and how the story played out previously.
A great example of something obvious, then converted to subtext was written by a group of three in the screenwriting class. With one driver hating his passenger, whilst the passenger wanted to be united with his ex-girlfriend, who is currently dating the driver.
My group's example, Two Jews One Synagogue - not making sense and it wouldn't surprise me if someone found it culturally insensitive, because I had no idea what I was writing about, was alright in general. But when it was first written, apparently it still had hints of Subtext - even when I was being as blunt as I could with the character dialogue.
The Dynamic Duo
Righto. Don't have that much to say about the webisodic series at the moment - however, recommendations have been made to be to include more elements of Sonny + Craig - which I have an idea on how to go along with that. It can be that they both work on the project together, allowing for more interaction to take place (logically).
Most of Episode 1 and the starting + ending of Episode 3 will stay the same.
That's it really. No further progress. Will start writing later today.
Final Comments for Consideration
Nothing really. Course wasn't that bad - although I would have loved it if Duncan Sarkies came back. He was the unorthordox component that I liked about the course last year.