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      "body": "Yaay! I am glad you are here. I'll be learning a lot from you no doubt.",
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      "body": "Great to have you to James!I i always wanted to make a soundtrack for a movie!",
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      "body": "Hi Arsenis welcome to Steemit, great to have a music producer join the community, I am a filmmaker based in the UK. Any interest in film scoring by any chance?  \n\nCheck out my blog and follow me back, thanks James.\nhttps://steemit.com/@filmtechreviews",
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      "body": "![](https://steemitimages.com/DQmQDrPWAstkYoq4nuDkKbTV4taq5vGoqsxazNwYbSpC9SS/image.png)\n\n# SCREENWRITING HOW TO: \n## Writing Convincing Characters and Dialogue (Part Two)\n##\nSo in part one we went over what 'on-the-nose' dialogue is and how using subtext and understanding your character helps you to write believable, interesting dialogue. In Part Two we're going to look at the use of character diamonds and character dynamics layers as tools to help us achieve that great dialogue we're after.\n\nTraditional character development requires huge amounts of back-story and mostly irrelevant personal style information such as childhood idol or favourite colour. The character diamond approach requires you to decide just four traits for your character and to decide how that affects their responses and actions. It's a quick and easy way to forge consistent characterization in your work. The rules are simple any action or line of dialogue that your character performs must display one or more of their traits.\n\n![](https://steemitimages.com/DQmUA1ohuUrwJqp1Y7Dxg3T7SXMPYCdfK9NCJ7eJGK34ToV/image.png)\n\nSo a trait is distinguishing personality characteristic such as secretive, gullible/naive, enthusiastic, imaginative, daring, optimistic etc. You select a trait for each point of the diamond, but just the trait on its own wouldn't be enough. Once you select your traits you need to write a brief bit about why the trait developed and how it affects them. \n\nSo as an example our character is naive, she has always been protected from the outside world by her father, now she is having to cope alone her lack of experience in the real world makes it easy for her to believe and trust others to her detriment. At times even the most fantastical story can fool her. Her other traits are in the image below.\n\n![](https://steemitimages.com/DQmVX7DLvZvQCKNpDsBodMgMozkRvBTriFaBvMiyzqRSVM1/image.png)\n\nSo with that figured out we can start to get a picture of her character and we can also see how she will react to events in the story. Now if I placed Claire into a situation lets say a homeless person approaches her and asks her for spare change for a bus we can get the responses from the character diamond. Well she's Affable so she'd listen to what he says and being naive she would most likely believe him but no sooner does she give him the money then he enters the nearby off licence and buys a can of cider. At this point her response is to get all sensitive and to question herself even blaming herself for not helping him in a different way.\n\nRefer to this diamond whenever this character is in a scene. Ensure that each line of dialogue and action is influenced by one of the traits. If you have a character arc planned then create a character diamond for each time the character's personality develops and changes during the story.\n\nI hope hat this will be of some help. The link to the free PDF character [diamond template is here.](https://docs.google.com/viewer?a=v&pid=sites&srcid=ZGVmYXVsdGRvbWFpbnxmaWxtdGVjaGZpbGVzfGd4Ojc0M2FiODlhZDg4M2QzM2Y)\n\nIn part three we will look at how to develop great interactions between the characters using a character dynamic layer sheet.",
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      "author": "chickwithflicks",
      "body": "@dtube is definitely the way to go...if you don’t like being on camera you can do voice overs or collaborate with someone that can be the face of your reviews and/or tutorials. Good luck!",
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      "body": "![](https://steemitimages.com/DQmQDrPWAstkYoq4nuDkKbTV4taq5vGoqsxazNwYbSpC9SS/image.png)\n# SCREENWRITING HOW TO:\nWRITING CONVINCING CHARACTERS AND DIALOGUE (PART ONE)\n\nScreenwriting is lets face it incredibly competitive. The Nicholl Fellowship in Screenwriting received over 7000 entries last year. The BBC received over 2000 in its short opening window this year and I can't even guess at how many unsolicited scripts from over eager but raw writers a studio like Warner Bro's received. Most of the time screenplays aren't even read especially if they're sent unsolicited. If one of your screenplays even gets looked at there's a sure fire way to tell how experienced and credible a writer you are:\n\n*Dialogue and Character* \n\nYes of course the plot and theme are important, a bunch of very well crafted characters sat around talking is not going to make for a blockbuster movie (in most cases.) but I think it's safe to say that it would be easier to place those characters into a plot and story with the audience able to believe their behaviors and actions.\n\nIf you haven't thought your characters through properly then they will appear to behave without reason, lacking continuity and will talk with 'on-the-nose' dialogue. On-the-nose dialogue is when a character says exactly what they are thinking and feeling. It almost always looks and sounds amateur and doesn't reveal character in an interesting way, in fact it tends to be very boring and flat.\n\nAn example of on-the-nose dialogue: \n\n>DAKARAI and EMEKA stand on a ridge beneath the shade of a tree. They both stare out over the valley they can see the thick heavy smoke rising from what was once their home village.\nDAKARAI: Are we going to stay here and do nothing?\nEMEKA: We can't go, it would be too dangerous, something might happen to you.\nDAKARAI: But people are dieing.\nDakarai tightens his fist.\nDAKARAI: I feel so frustrated and angry we can't do anything.\n\nSo as you can tell its not too interesting, it really leaves nothing to be discovered or interpreted by the viewer. We know from this dialogue everything about Dakarai's feelings and his motivation but how dull. Here's a version that uses subtext, it doesn't explain everything but I hope it is more dynamic and interesting. The character's show they're feelings and they don't explain them, it's up to us as a reader or an audience to interpret them.\n\n>DAKARAI and EMEKA stand on a ridge beneath the shade of a tree. A small herd of goats feed behind them. They both stare out over the valley they can see the thick heavy smoke rising from what was once their home village.\nDAKARAI: When do we leave?\nEMEKA: They didn't want us there Dakarai.\nDAKARAI: They're dieing.\nDakarai tightens his fist. Emeka places a calming hand on Dakarai's shoulder, he looks around to him.\n>EMEKA: Come, we have much to do.\n>DAKARAI: It can wait.\n>Emeka walks away to tend to the goats. Dakarai looks back out over the valley. Another fire elsewhere in the valley has begun it too floods the horizon with thick black smoke.\n\nBeing able to write dialogue that uses subtext and shows character requires planning, you need to know your characters, what motivates them and how they would react to most situations. There are many books and websites out there that encourage you to create full biographies with information about a characters childhood, their school experience, their first date, favorite music and colour etc. I'm not saying that it wouldn't be worth knowing but I'm not certain it's all necessary especially if you never intend for music to be an important plot point.\n\nI've found several ways that make a lot more sense and are far more accessible than trawling through pages of biography. The method I'm going to explain was one I found in the book 'Creating emotion in games' by David Freeman. So yes its a book about game design and writing for interactive media but Freeman really knows his stuff and a lot of his techniques can be adapted to screenwriting. He talks a lot about an approach he created called 'Emotioneering'. This book is well worth reading and I can't recommend it enough. Also check out Freeman's website here: http://www.freemangames.com/idea/.\n\n![](https://steemitimages.com/DQmWyAqC5tUQTp5TbN3tRTuEAfGKjNLD6b8TTby24bbwRpT/image.png)\n\nSo how do you improve your dialogue and characterization? Using two new tools a free PDF character diamond form and a PDF character dynamics layer chart. Jump over to part two to download the templates for free and an explanation of how to use them properly.",
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      "body": "<center><a href='https://d.tube/#!/v/filmtechreviews/0i9toynh'><img src='https://ipfs.io/ipfs/QmTwzsQj6yNbPLXJJuiZPWDBZzzdXjBZxMGVXhnXbSGHKw'></a></center><hr>\n\nDisclaimer: The video above is made by my daughter who is 11. Any steem earned on this post will go to her for the effort she has put into such a great animated music video.\n\nAs a father of four kids it was inevitable to have one child who would have similar interests to me. My 11 year old daughter Poppy loves animations and art more than I think I did at her age. When I was a kid I loved cartoons but it wasn't something that I ever thought could make me a living. It wasn't a career path my parents encouraged for me. As a kid I was always told art is good but you need something to fall back on and being told this in some way killed off a bit of my passion. \n\nIt wasn't until I was in my late 20's that I realised that actually in this world of online video that I could make a living from animation and filmmaking. Yeah a lot of it is cookie cutter corporate work but as artists we can still try and inject our creativity into a project as far as a client will allow us.\n\nThis is why when my daughter talks about being an animator for cartoon network when she's older I encourage her and help her in anyway I can.\n\nThat being said does she still need a backup plan once she is older? My view on it is no, rather than a backup plan have a support plan. Take on additional subjects if you have to that would support your passion such as marketing or business management or architecture, design and technology. These are all subjects that can support your creativity in a profitable way.\n\nThe truth of it is the above video was made by an 11-year-old who I know will be a much better animator than me and I couldn't be prouder.\n\n\n\nmusic by POGO: https://youtu.be/2CYaZFydbA4\n\nhttps://steemit.com/@filmtechreviews\n\n<hr><a href='https://d.tube/#!/v/filmtechreviews/0i9toynh'> ▶️ DTube</a><br /><a href='https://ipfs.io/ipfs/QmSg7xxGGF9C4H3ZTwxioRWZ8Wkf2GLEKeMHMfMDENqnYV'> ▶️ IPFS</a>",
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