MEDIA ARTS HANDOUTS

Generally, a script is a printed version of a stage play, radio program, television show, or film and
includes words to be spoken, as well as technical directions. It is virtually a complete production
guide on paper, specifying what will be seen and heard in the final output. Specifically, a script
for a film is called a screenplay. It provides the foundation for the film.

Why do we need to write scripts? Well, it can make some people rich because there is money to be
made as a scriptwriter. It is also very fulfilling as there is some degree of satisfaction in having your
words spoken by actors. Several people consider it as equally important as the director. There is also a
certain amount of fame connected to writing a successful screenplay. It has its own rewards, whether it
be monetary, admiration and respect from others, and even a little jealousy. There is more to it than
those just mentioned.
There are basically two kinds of stories: character-driven and plot-driven. In character-driven stories,
the focus is primarily on the dynamics of a character, a need, and a key relationship – the heart of the
story. In plot-driven stories, the focus is primarily on the character’s goal and the action – the spine of
the story. You might have seen films with a sinking ship like “Titanic” and “Poseidon.” The former is
character-driven as the story is focused on Jack (Leonardo DiCaprio) and Rose (Kate Winslet) who
fall in love aboard the luxurious, ill-fated R.M.S. Titanic. Meanwhile, the latter is plot-driven as it
focuses more on the events before the luxury ocean liner Poseidon capsizes. The survivors are left to
fight for their lives as they attempt to escape the sinking ship after it was swamped by a rogue wave.

Although not all films are narrative in nature, we will limit our discussion in this learning resource
to those with stories. For those who are interested, some films can just focus on a certain theme or
central message. It gives the film unity. The writer and/or the filmmaker wants the audience to learn or
know the deeper meaning of a collection or combination of images, its message or significance. These
are usually present in experimental films. Narrative films also have themes. They are usually not stated
and must be inferred by the reader or viewer from the story.

In addition, in every story, the main character has a conscious goal. The goal is whatever your main
character strives to achieve. The antagonist usually makes it almost impossible to reach that goal. The
antagonist may come in the form of a person who either has the same goal or who, in some other way,
opposes your main character’s goal. Beneath the character lies an unconscious or subconscious need.
The need can be related to self-esteem, or finding love, or living a better life – whatever the character
needs to feel happy, satisfied, or accomplished.
Every script starts with a concept. A concept is an idea for a film. The following are some other sample
concepts and links to the corresponding films made from them:
1. A boy dreams of having his family picture taken only to find out that what is more important is that
he still has a loving family by his side more than anything else.
“Pipo”: https://youtu.be/8zqMtkoO-OY
2. An ambulance driver believes that a dying patient can be saved by running

over stray animals on the streets. “Ambulancia” (Ambulance):

https://youtu.be/y8bpGOA2a8o
3. A mother, desperate to feed her child, takes part in the feeding program of the
mayor of a city. Upon seeing the favorable response of the mayor’s wife to her
child, she undertakes a disturbing gamble. “Pamatid-gutom” (Hunger Pangs):
https://youtu.be/CJ97k0jwReE
A scriptwriter conceives, creates, recreates, and alters what is already created. Thus, he or she is a
creative person. Can creativity be taught? Yes. Can it be acquired? Yes, why not? Creativity is present in
all living, rational beings. In scriptwriting, it is simply telling a story that is previously unknown. It starts
from a germ of an idea and ends up with a larger-than-life story. It usually happens when you
rationalize or justify something that is previously unheard of, unacceptable or objectionable.
After coming up with a concept, you need to translate the big story idea into a workable story.
What makes a good
story? As a beginning writer, you should work on characters that you are passionate about whether
heroes (you

love
them) or villains (you hate them). There should also be something at stake: something
someone wants for the good of mankind (a vaccine for COVID-19) or something desired by many
characters (the One Ring in “The Lord of the Rings”). In the short film “Pipo,” which is written and
directed by Richard Legaspi, the protagonist and titular character played by Maliksi Morales wants to
have a photo of his family taken.

There might be obstacles along the way to create conflict or the heart of the drama. Someone wants
something and people and things keep getting in the way. The conflict can be physical (external) or
emotional (internal). External conflict may consist of a personal and individual struggle between the
main character and another one, or may pit the characters against fate, gods, forces of nature, social
system, or any nonhuman force. Internal conflict centers on an interior, psychological conflict within
the main character. Without a conflict, the story is not interesting, or worse there is no story at all.
Since you are working on a script for a visual medium, you need to make the internal external and the
abstract tangible or concrete.

As a suggestion, you may start with the “what if?” or the premise of a story. The premise is a
concise statement or assertion that sums up the story or subject matter. You need it to jumpstart or to
serve as the building block of your story. You need a dramatic structure or form to give shape to the
story. This is where the plot comes in. It serves as the structure or skeletal framework on which you
hang the meat of your story. It is a scheme, plan, or method to execute the premise. It is the structure
of emotion and action. Without it, your story might fall flat, incapable of moving forward. It comprises
the events in a character’s storY
Most screenplays have a beginning, a middle, and an end. This is called the three- act narrative
structure. The beginning sets up the story, grab the reader’s attention, and establish the situation
for conflict. The middle complicates matters and develops the conflict, which eventually
rises to a crisis. The end concludes the story and gives the resolution to the conflict.

In “Pipo,” the boy, not wanting to be jeered at in front of his class for not having a family picture, makes
up rumors to convince a photographer (Lou Veloso) to take a photo of his family at a lower price. In the
end, he finds something far more important than having this picture.

Apart from this, you should also be concerned about hooking the audience and setting up what they
need to follow in your story. The hook is what keeps the reader or viewer glued or interested in your
story.

Another element to consider is genre, which carries certain characteristics. Genres identify similar film
and television types. To write within a genre, it is necessary to study the form. Who are the main
characters and how are they portrayed? What elements are usually present? A film’s genre can be
romantic comedy, action, drama, horror, science fiction, detective or mystery, disaster, fantasy,
adventure, psychological thriller, Western, and so forth.
However, you can make a screenplay better if you know how to set up or use foreshadowing in your
story. Foreshadowing sets up events to come. It is used both in suspense and preparation, so the
audience is cued to expect something, and anticipates it.

Preparation is a necessary technique to set up the audience for something that will be
important later. It prepares us for certain actions or events, or for the appearance of a special object or
person in the story. In this way, later occurrences no longer seem overly coincidental or contrived.

The plant is a preparation technique in which an object or person is presented so that it may be used
later. In literature, it is more commonly known as Chekhov’s gun. To paraphrase Chekhov, if you are
going to use a gun in the third act, better show it in the first act of the story.

In screenwriting, you need to know how to set things up for a better payoff as it satisfies an audience’s
need for completion. Payoff is a piece of information provided to the audience, to be used later to
develop the story or to answer questions. If the ending of the film was not properly set up, we would
feel cheated or ripped off.