Tldr; passive-aggressive vagueing about narrative structure being haaaaard
Screenwriting has been interesting so far. I picked it because I wanted to expand my writing skills a bit, because I thought I would like it more than stage scripts and because it might be relevant to any attempts at games writing/narrative design I make in the future. I don’t think its too early to say that its achieved all of those pretty well already. I’ve already learned a lot about the format, about screen directions and plot structure (reading the screenplay for the Night Manager was a really helpful exercise), but there are some elements I’ve struggling with as well.
Namely, dramatic structure. The good old ‘who’s our protagonist, what do they want, why can’t they have it’ formula, with 5 main plot points starting with the inciting incident and ending with the character changing in some way, maybe getting what they wanted, but never in the way they thought they would get it. That one, as reductively misrepresented here.
On the one hand, I’m definitely not claiming it doesn’t work. I can’t claim better than the combined history of cinema and television, which both seem pretty sold on it. Learning it and sticking to it is almost certainly going to serve me very well in future projects. But right now, as we’re pitching our script ideas to our tutor and plotting out our screenplays, it feels like satisfying all the demands of narrative structure in a novel way is more or less the only metric of whether or not a script has the potential to be any good.
Which makes sense, I suppose. A script has to be pitched, directed and produced, after all, and I don’t pretend to be an avant-garde genius that knows a better way of banking on the narrative potential of a piece of writing. My complaints are probably all fairly typical prose-writer-y complaints: I do feel a bit naked with all my precious backstory exposition and internal character voice stripped away.
It’s not as if I don’t like my current dramatic-structure-approved screenplay idea, but it is definitely a few numbers down the list of ideas I’m excited about working on. The others were all beyond the scope of what we get to do on this module or just didn’t fit the narrative structure well enough for me to convince my tutor they’d be worth working on.
Which is also reasonable. It’s not as if I’m going to try something that actively goes against that formula, if only because I lack a compelling reason to do so. I can keep my less dramatically-satisfying ideas for other projects. But it would be nice to get something more than a working understanding of screenwriting and colour-by-numbers screenplay out of this module.
There definitely are scripted narratives that rely on elements other than dramatic structure in order to be good. But that doesn’t get me anywhere, unless I’m in a situation where I can surrender the burden of making-the-thing-good to animators or graphic designers or software engineers.
Who knows where I’m going with this rant. At the end of the day, this has already been a great learning experience. But even if a colour-by-numbers screenplay does end up happening to help me secure a decent mark, I’m going to see if I can’t find a way to bend this piece of coursework a little bit more to my purposes, one way or another.