![]() ![]() We made him such an everyman that he kind of is every man. And looking through it again, I realized that the biggest problem here is that our hero could sort of be anybody. And, there are some times where… There is a project that has been sitting on a shelf for awhile that a friend and I are going to take another look at. You can work on it, and you can sort of notice when things are missing and apply yourself again. ![]() So this isn’t going to be a how-to-give-your-characters-a-voice thing, because I think it is one of those inherent skills like you sort of have it or you don’t. But what you can’t do is tell somebody to write characters convincingly. And you can always come up with ideas for interesting scenes. You can suggest ways to improve story structure. I would happily read many scripts that are kind of a mess story wise, but you can tell someone’s a good writer because their characters have a voice.Ĭraig: Right. If they can convince me that the characters I’m reading on the page are distinct, and alive, and unique. I can tell if it’s a good writer or a bad writer mostly by whether they can handle a character’s voice. John: Because to me, the mark of good writing is never really about structure, or where the beats are falling. And so I thought we might start talking about that. John: And their conversation about finding a character’s voice, finding an actor’s voice for an impression got me thinking about what a character’s voice is. We look forward to coming back with hopefully a normal episode next week. Drew, thank you so much for putting this clip show together. For our Premium members, what kind of Bonus Segment will they get at the end?ĭrew: We’re going to look at Episode 470 on dual dialogue, which is really fun. ![]() Then we move to how to make sure you’re doing right by all the characters in a scene and keeping everyone engaged. Then Episode 371, where Craig, who had started acting at that point, was talking about what makes dialogue easy to memorize. Then we’re going to go up to Episode 286, where we’re going to talk about the history of dialogue and expand on the idea of character voice. We’re talking there about the four general rules of character voice. It’s very fun to hear you guys and how you’ve changed. Which episodes are you plucking from here?ĭrew: We’re starting with Episode 37, which was ages ago. John: In any of these clip shows, we’re traveling through time. Drew, you had actually had some research before this, because you guys were working on chapters about this for the book.ĭrew Marquardt: Yeah, our summer intern, Halley Lamberson, was putting together a chapter on writing dialogue, and this conversation started ringing some bells, so went back and looked through it and found some really wonderful gems to talk about character voice and writing for actors. It started a whole conversation about the difference between a writer’s character voice and what the actor brings to that voice. This stemmed from a conversation we were having yesterday.Ĭhris Csont, who does our newsletter, is working on an issue about dialogue and character voice. So often, these clip shows come out of work we’re doing in the office on other things. Today’s episode is a clip show, but I wanted to spend a few minutes to talk about how we got to this clip show. My name is John August, and this is Episode 609 of Scriptnotes, a podcast about screenwriting and things that are interesting to screenwriters. The original post for this episode can be found here. ![]()
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