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Archives for 2009

On being here or there

February 23, 2009 Strike, Travel

I flew to Paris for a meeting this weekend.

That’s absurd, of course, spending 22 hours in the air just so I could sit around a small table with two other jet-lagged people. But it was an important meeting, a kind of reality-check on a project everyone wants to see done right. As a screenwriter, you quite literally need to make sure everyone is on the same page, so sitting down in person makes sense.

And sitting down in Paris is lovely. With my spare time, I took a [Vélib](http://en.wikipedia.org/wiki/Velib) bike across the city to check out a future apartment and encountered my very first grifter, whose gimmick (a found ring) was so smoothly delivered I almost wanted to tip him for the performance.

I woke up at 2:30 this morning, hoping to see the Oscars, but the hotel’s TV didn’t carry them. So I found myself following the action via Twitter (#oscars), letting a thousand strangers tell me not just what was happening, but how they felt about it. ((Twitter’s atomic bundling of opinion and reportage is new. If the telegraph had made it to individual homes before the telephone, we might have had a precedent.)) It’s like swimming in a giant stream of consciousness.

It’s exhausting. I only lasted an hour. But for those sixty minutes, I had effectively outsourced television watching. It was the next best thing to being there. “There” being a television in America.

In a less jet-lagged state, I could probably write more eloquently on the implications of this dislocation. But my hunch — my possible thesis — is that quick flights to Paris and text-watching the Oscars are markers of the same general condition: a frustration that we can only physically be in one place at a time. It’s an unsolvable problem, but the ways we try to compensate for it are telling.

For starters, we move faster. Broadband is ubiquitous enough that when we don’t have it, it feels like going back to outdoor plumbing. My husband was in Asia for ten of the last fourteen days, but our daughter saw him every morning at breakfast thanks to iChat. She is growing up in an age in which no one actually goes anywhere: Daddy isn’t gone; he’s on the computer.

But faster isn’t everything. [An article in today’s International Herald-Tribune](http://www.iht.com/articles/2009/02/20/arts/design23.php) celebrates the Concorde, a plane I never had the opportunity to fly. I didn’t realize it was often twice as fast as today’s airliners: London to New York in three hours. That’s great, but it’s not really transformative in an age when so many things come Right Now. Given its price and relative lack of luxury, the Concorde was ultimately competing against email. Digital won.

Another way we compensate for not being places is through constant communication with folks who are. That’s what Twitter and Facebook status updates do. At an all-WGA meeting at the Shrine Auditorium near the end of the strike, leaders scolded someone in the audience for live-blogging what was being said. Just a year later, that already seems quaint. Of course people are going to be Twittering. Some people can’t be here; why shouldn’t they be included?

The TV show Lost is all about location and isolation. For the first few seasons, the survivors didn’t really care where they were, they just needed to tell someone off-island that they were alive so they could be rescued. That’s shifted in the past two seasons, with all the focus now on reconnecting with those left behind. ((As one might guess from The Nines, I’m partial to the Desmond episodes. The idea of a “constant,” while narratively murky, feels right: you need someone who knows you independently of the present madness or you’re screwed.)) The question of where the island is only matters once you’re off it.

The third and I think most dangerous strategy for coping with the place problem is simple denial. We psychologically stay home, even when we’re gone. I’m doing it at this moment, typing on my laptop while Paris awakens outside. My friend Dan moved to New York to produce a TV show, and says never really saw the city: he had thirteen nights free in four months. He was either on set or on the phone with Los Angeles the rest of the time, and came to see the JFK-LAX flight as a commute.

I see it happening with this generation of college students. When I left Boulder to go to Drake, and when I left Drake to move to Los Angeles, I left people behind. Through phone calls, letters and visits home, I maintained relationships with a few close friends. But ninety percent of the people I knew vanished in the rearview mirror. That doesn’t happen as much anymore. Through Facebook and email, it’s trivial to keep up with dozens of classmates more or less daily.

But is it really a good idea?

Your twenties are a crucial time, and I’d argue that it’s harder to discover yourself — or reinvent yourself — when surrounded by a vast network of people who already have a fixed opinion of who you are. I went to college and grad school not knowing a single person, and while it was a little terrifying, it was also liberating. Decoupled from my previous opinions and embarrassments, I was able to become the 2.0 and 3.0 versions of myself. I could only do that by going somewhere new. By changing place.

I’m packing up to fly home. Before I do, I’ll post this on the blog. But it occurs to me: I have absolutely no idea where the servers hosting this site are located. If I wanted to see the hardware, where would I go? That this question never occurred to me is also telling.

When writing teams break up

February 21, 2009 Psych 101, QandA, Rights and Copyright

questionmarkI recently parted ways with a writing partner, and while untangling the issue of who gets to keep what material, a nagging issue has surfaced, to which I cannot find a satisfactory answer.

I decided I wanted to go ahead and complete a script we had both outline, but the premise of which was his. I contacted him, and after discussion, I changed my mind. However, I decided to use only a single character from the script we had outline (and only the basic character outline, such as “prison guard” or “starship captain.” I devised an entirely new premise, dependent not all upon his initial story.

My ex-partner informed me I could not use such a character in my piece without some type of concession on his behalf. Is this true?

— Anthony
Eagle Rock

It’s “true” in the sense that he won’t be satisfied. Both of you think that something about this character has value, even though it’s purely speculative at this point.

Without knowing the specifics — and both sides of the story — I can’t offer any strong opinions on the legal or ethical issues involved here. But from a practical perspective, if you try to write this story that has some connection to the work you did together, you’re going to be dealing with this pissed-off person (or the chance this pissed-off person will reappear) for a long time.

My advice: Figure out what it is about this story/character/world that intrigues you. Then come up with something wholly your own that scratches the same itch. Maybe you think you’ve done that with your new story, but you wouldn’t be writing in if that were the case.

Can I go beyond DAY and NIGHT?

February 20, 2009 Formatting, QandA, Words on the page

questionmarkIs there a hard and fast rule for first time screenwriters correctly writing their slug lines? I understand that it is for the production people to know WHERE and WHEN to shoot the scene. But I’ve also been told on the boards of quite a few screenwriting forums by supposed professionals, that it is NOT part of your story and so you only ever write DAY or NIGHT.

I’m told that if you want readers to know it’s foggy or stormy you tell them as “part of the story” in the action lines below. Yet in many of the spec scripts I’ve seen online, writers use CONTINUOUS, SAME, LATER etc in their slugs. Is it only solicited writers who’ve already been green lighted for production that have the privilege of writing beyond the binary of DAY or NIGHT? I find that hard to believe this when software like Final Draft allows you to be more expressive in your slugs, and still, I’m continually told otherwise.

It would be much appreciated if you could clear up this issue that has confused, infuriated and made me less confident in my writing now for far too long. I’m sure I’m not the only one.

— Tim
Ischia, Italy

Sluglines are there to help production, but they also help readers. If venturing slightly beyond the confines of DAY or NIGHT makes the read easier, do it.

All of the following are legit:

INT. HOUSE – DAY

INT. CABIN – NIGHT

EXT. FOREST – DAWN

EXT. SPACE

EXT. PARKING LOT – NIGHT [RAINING]

INT. BOWLING ALLEY – NIGHT [FLASHBACK]

The first two are obvious and standard.

DAWN is okay, as long as there really is a reason the scene needs to be taking place close to sunrise, rather than just general DAY. For example, if you were following characters through a string of harrowing night scenes, and they bunkered down in an abandoned railway car, it might be important to really note when it’s dawn again. Same case for DUSK or SUNSET. In a vampire movie, that could be crucial.

Space has no day or night. Generally in science fiction there is a sense of what “day” and “night” feel like, however. So feel free to use it on a spaceship, for example, to indicate the daily routines.

I use brackets at the end of a slugline to highlight special conditions. Rain is a big deal, both for story and production purposes. And flagging a scene as a flashback helps both readers and assistant directors.

How to handle unknown narrators

February 20, 2009 QandA, Words on the page

questionmarkI have a character that I would like to voice over a letter, but she hasn’t been introduced yet and the character getting the letter doesn’t know her. Would I just name her “Woman” at this point?

— Tyson Koss
Fort Collins, CO

Yup, she’s just a woman. Or more specifically, a WOMAN’S VOICE.

Dan rips open the envelope, removing a folded sheet of paper and a key he doesn’t recognize. The note is handwritten, and addressed to him.

WOMAN’S VOICE

If you’re reading this letter, there’s a very good chance I’m dead. And there’s a very good chance you will be too, unless you follow my instructions exactly.

I generally omit the (V.O.) in this situation. It’s redundant.

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