Scott Myers

2018-19 Philadelphia Flyers Countries of Origin

Austria: Michael Raffl 🇦🇹

Canada: Brian Elliott, Claude Giroux, Carter Hart, Corban Knight, Travis Konecny, Scott Laughton, Andrew MacDonald, Samuel Morin, Philippe Myers, Nolan Patrick, Travis Sanheim, Cam Talbot, Phil Varone 🇨🇦

Czechia: Radko Gudas, Michal Neuvirth, Jakob Voráček 🇨🇿

Russia: Ivan Provorov 🇷🇺

Sweden: Robert Hägg, Oskar Lindblom 🇸🇪

United States: Sean Couturier(🇨🇦), Shayne Gostisbehere, Ryan Hartman, James van Riemsdyk 🇺🇸

1 march 2019

Antagonism is a story function and it need not necessarily be embodied in a single character (although it often is). Scott Myers in the blog “Go Into The Story” tells us, “There needs to be some sort of ‘nemesis’ function — a specific character or otherwise — that provides opposition to the Protagonist.” Referring to 500 days of Summer: “Tom’s ‘nemesis’ is not a physical character, but rather an internal psychological dynamic — his overly romanticized view of love. Seeing the end sequence of “The Graduate,” culminating when Ben and Elaine race out of the church to ‘escape’ her wedding and onto the back of a conveniently located bus, Tom doesn’t notice that lingering moment at the end where the couple’s smiles fade, replaced by a rising look of terror in their faces.” An argument can be made that in Finding Nemo, Marlin’s antagonist is the ocean. It stands between him and his desire to find his son.

winnieleighwrites  asked:

Hi! I tried to find something about editing scripts in your archive, but unless I didn't go too far, I couldn't find anything. So, a friend had asked if I could edit his music video intro script, but I don't know much about script writing/editing, if anything at all, so I wanted to know if you could give me some pointers, or recommend other posts and articles about how to edit music video scripts? I have experience with editing novels, but not scripts. Thanks in advance!

Hi @winnieleighwrites!

It seems you’re right! I haven’t made any posts about rewriting. I have started assembling information for a larger rewriting post to come, so thank you for bringing this to my attention. In the meantime, here are the basics.

Do not do a page one rewrite. Instead, go through the entire script focusing on different aspects each time and making notes regarding what you should change. Group these notes into categories you can then address in separate editing passes. These passes should focus on some of the following:

  1. Story structure. Are all 3 acts there? Does the plot make sense? Are there holes? Does it have consistent pacing? Are the A, B, and C stories evenly balanced? Do the subplots fit in the story?
  2. Characters. Are all your characters necessary? Are they consistent and unique? Can you combine/cut any characters? Does every character have a “moment”? Do all the characters have an arc? Are all the character relationships clearly established?
  3. Dialogue. Does everyone have a unique voice? Does it sound natural? Are lines repeated? Are phrases/references still relevant? Does it convey the right emotion? Can it be said better as subtext?
  4. Jokes. Rate jokes 1-3. 1 means you didn’t laugh. 2 made you smile, and 3′s made you actually laugh. Make all the 1′s 2′s and make all the 2′s 3′s. Do you balance visual gags with spoken jokes? Do you have longer plant-and-payoff jokes?
  5. Theme. What is the theme/message of the film? How is it conveyed in the script? How does each scene relate back to the theme? Does the script send the right message?

Ideally, you would do a pass for each of these (and also an addition one for every character and every subplot). Before you rewrite, you need a plan of attack. Don’t just start rewriting. Plan out what you want to chance in each pass and how you want to do it. When you change one aspect, it will affect other parts of the script. It will get worse before it gets better. Don’t get discouraged!

Some good rewriting resources are:

I have never edited music video scripts before, so I unfortunately don’t have much information specific to that, but the above rewriting techniques can still apply. When looking at a music video script, think of the song as the story. How does every scene tell the story? What character(s) share the point of view of the singer? What is the theme/message of the song and how does the script relate back to it?

Good luck!