John August

John

Getting help as a deaf screenwriter

QandA, So-Called Experts

questionmarkHi my name is Sami and I am deaf. I don’t write good in English, although I can write screenplay and know its format.

Suppose if I complete the screenplay and I want to be sure that this screenplay is complete accurate and perfect…how do I make sure it is? Do I send it to some script doctor and have them check the format, grammar, and etc? If so then do they have right to share the credit?

–Sami

answer iconOne of your instincts is right: you do need someone to look over your writing, since your English isn’t terrific. I’m guessing you grew up using American Sign Language, which many non-deaf people assume is a direct adaptation of English. It isn’t. Not only does the language omit a lot of our needless filler words (such as articles), but it can structure sentences and phrases in much different ways than a spoken language might. This is why, over time, it has become very sophisticated and robust. Unfortunately, fluency in signing doesn’t always lend itself to the written word.

Which is where you could use some help.

A “script doctor” isn’t really the right term for what you need. That term generally applies to a highly paid screenwriting pro who does specific, short-term work on a screenplay to fix some perceived problem. What you’re looking for is really just an editor, someone with stronger grammar skills who can help with spelling, word choice and punctuation. Think of it this way: if you were hired to write a magazine article in French, you wouldn’t think twice about having a native speaker look over your work. That’s what you need.

Obviously, you should write about whatever subject interests you, but I’d encourage you to seek out the work of other deaf filmmakers. There are at least three deaf film festivals running, and other entries can be found in many of the better programs around the country. There is also the opportunity for cross-over with deaf theater companies, such as the renowned Deaf West Theater in Los Angeles.

Even if your work ends up having nothing to do with deaf issues, you’d benefit from meeting other writers and artists to see how they handle the challenges and opportunities the medium presents.

Tyger Williams on How I Write

First Person, Writing Process

first personThe process of finding my way into a story is different each time. It depends on the subject matter, how innate the material is to me and my sensibilities, or just depending on where I am in my own headspace at the time. I usually try to find my way into the character, or whatever cool set pieces or beats are going to make me really excited and make it fun to write. Some projects require more research, some less. But all of them require a great deal of procrastination.

I generally start with a beat sheet, which I develop into a short outline. It’s all very sketchy at the start. I use a program that allows me to lay my entire story out in blocks (sort of like index cards) so that I can see what it looks like from beginning to end. It also allows me to color the blocks separately so that I can track the protagonist beats, action beats, sub-plot beats, etc. Once I have the outline I make a list of the scenes that I want to write each day. (sort of like a director’s shot list) Sometimes I write in sequence, sometimes not. Often I’ll do dialogue on a tape recorder, just to hear how it sounds and then rewrite it later.

A typical day at he office varies for me depending on whether I’m developing ideas or writing a draft of a script. When I’m drafting I approach it pretty systematically. I budget out my days. Six pages a day, five days a week. Four weeks to a first draft. I usually get in the office around 10:00 a.m. and will write until 1:00 p.m., or at least until I have four pages done before lunch. Then I’ll write again from 2:00 to 6:00. During this time I will write another two pages and loosely revise the day’s work, in addition to returning the necessary phone calls. Now this is all ideally speaking. There are times when I spend the whole day in the office trying to figure out what I’m supposed to write and won’t get it done until I get home and the family’s asleep. Either way, I try to make the day’s pages or I know I’ll have to play catch up later. I only put myself through these paces in order to get a first draft done, and the rewriting/editing phase is considerably more flexible.
***
Tyger Williams, a product of southern California, attended the University of Utah and Long Beach State University, where he studied Film, Television, and Marketing. After interning as a story analyst, he tried his hand at screenwriting. The immediate results were an unintended comedy, the semi-autobiographical film everyone writes, and his first produced film, MENACE II SOCIETY. Williams has most recently worked on NIGHT TRAIN: THE SONNY LISTON STORY, as well as a remake of the 1970′s blaxploitation film FOXY BROWN, and GRIDIRON GIRLS, a dramedy about life in the world of women’s professional football. He has also developed various television pilots and is currently adapting the Marvel comic character Brother Voodoo into a series for the Sci-Fi channel.

Todd Graff on How I Write

First Person, Writing Process

Todd Grafffirst personThe first thing you need to know is that I write longhand, on legal pads, which makes me either a romantic or a dinosaur or both. When an idea starts percolating in my head, I jot notes everywhere: matchbook covers, snaking around all the white areas in a magazine ad, etc. Bad movies seem to get my juices flowing, and I’m forever ripping up popcorn containers, scribbling on their oily, white insides with the tiny wallet-clip pen my boyfriend bought me for Xmas (a far more useful present than the gym membership).

These notes all make it onto individual index cards. As time passes, the pile of cards grows, until all that’s missing is the connective scene-tissue between all the jotted down sequences.

When it’s time to write, I procrastinate as much as the next guy. I find I have to sneak up on it — like I sit down to work, knowing I absolutely have to be somewhere in an hour. That way I can’t fuck up too much at any one time.

I also take long showers, where I don’t let myself leave until I’ve had at least one valuable idea about the script. Solved one problem. My hot water bills are always an accurate gauge of how blocked I am.
***
Todd Graff wrote and directed CAMP. As a writer and
producer, his other credits include BEAUTICIAN
AND THE BEAST, ANGIE, THE
VANISHING and
USED PEOPLE.