Anatomy of a screenplay - Introduction 2 
You have done your homework? Oh, but ... In the classroom there is only one student? Anyways, 'Mr. Kokko, it means that I will continue the lesson for her.
He chose the dramatic premise to develop? Well, because it's time to zinzinnarla! ... Tease! Wise! Test it!
begin ...
1. Evaluate the different possibilities
not enough to just drammatugica a good premise, but should also cover the brain to identify the potential that this could have in the development of your story! (Ok, it is not simple matter of intelligence, but also of technique and experience)
The term potential refers to the direction that might take the idea of \u200b\u200bnarrative. So it is important not just to one possibility (although there appears to be superb), but we need to evaluate alternatives, to compare the different paths and choose the best.
Once again, I wrote just a bunch of nice words ... Let's see how to practice!
Technique 1: Identify the expectations that we have an audience on your premise.
What better way to find the potential in your history but to ask what is expected of a certain premise? Let me clarify taking the example of an old movie: Tootsie. A great actor (Dustin Hoffman) receives no salary for work because of his arrogance, finds himself having to dress as a woman to get a part in a television series. Now, the expectation that it can feed an audience about a story where a man is forced to play as a woman is certainly to have fun watching a comedy in which the protagonist finds himself living a large number of extremely embarrassing situations and hilarious!
certainly will agree with me, though, which is quite normal that people expect to enjoy a comedy, it did not go mica to see a horror! How to give that "extra touch"?
Technique 2: "What if ...?". Do not take it as an abstract thing! Answering this question will help you explore your world narrative, leading to what is allowed or not allowed to do, and, at the same time-will train your mind to move within an artificial environment. The more often you ask the question, the more intensely you live in this world, defining the details and enrich the charm. The trick is always: Let go the reins, let the vague thoughts and opinions without censorship! Never say that the idea is stupid, because the ideas are stupid be the hook of great creative breakthrough. One suggestion I can give you is to play in a very personal note with the contradictions, it is often the best way to create situations for many interesting and full of pathos. Returning to the example of Tootsie
: what would be the most apt and brilliant character who could play as a woman-and that less than anyone else would be comfortable in those clothes?
In other words, what would happen if ... the protagonist was a male chauvinist? I guess that's all guess what the story is filled with potential and the premise with a similar premise-even because there would be shock therapy better than this disguise forced to bring to that individual's moral development necessary for our main character to find its new balance!
continue: it is obvious (if you will) that our hero will fall in love with a girl as his female alter-ego to become "counselor" and "best friend"-always to create a highly embarrassing situation (and distressing) for him it is also obvious that his disguise some horny straight boy side ... But what would happen if we did this boy's father the same girl whom the protagonist falls in love?
Ah, it's fun to complicate the life of our hero! But keep in mind that at the same time la complicate anche a voi! Infatti: chi sarà lo stronzo che si dovrà inventare tutti gli stratagemmi che dovrà architettare l'eroe per uscire da una situazione da ritmi farseschi incalzanti?
2. Individuare le sfide ed i problemi narrativi
Lavorando sul punto 1. sarete sicuramente inciampati in alcune piccole "sfide narrative". Ogni storia ha le proprie, e sono ciò che le caratterizza. Individuarle ed affrontarle subito di petto è l'unico modo per trovare la strada giusta da imboccare per scrivere una sceneggiatura di un certo spessore. Infatti, molti scrittori che non si dedicano a questo punto prima della stesura del testo finiscono per trovarli troppo tardi, a lavoro finito (ammesso che ci arrivino), sprecando molto del potenziale anche della premessa più buona.
Purtroppo, qua non posso insegnarvi alcun trucchetto per individuarli subito. La fregatura sta che questo lavoro vi verrà facile solo a corso inoltrato, quando esamineremo le tecniche del personaggio, della trama, del tema, del mondo narrativo, della rete dei simboli e del dialogo.
Nel caso di Tootsie -oltre a creare trovate geniali e simpatiche che daranno un po' di respiro al protagonista nella sua serie di bizzari eventi- la sfida risiederebbe nell'esplorare il mondo dei rituali di corteggiamento moderni e l'immoralità dei rapporti uomo-donna, e far emergere come le azioni irrispettose degli uomini abbiano conseguenze negative sulle donne without giving the tone of a homily, and without giving the impression that the univeso women is not at fault.
ends today's lesson.
See you next time, Player!
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Anatomy of a screenplay - Introduction 2 dramatic
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