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Online_Lecture_Screenwriting_1_Week_9_Dialogue - UCLA...

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UCLA Extension - Screenwriting 1 L. Saber 1 DIALOGUE (Week 9 Lecture) Let’s assume that you mastered the art of storytelling, you have your structure down, your characters are very well developed and you have a twist and turn every 10 pages that keep us on the edge of our seats. You’ve done your job to make this story interesting and you tied up your loose ends. Your opening is fast and furious, it gets to the inciting incident in no time and then the bomb falls on your character throwing his life out of whack. It’s cool, hip and exciting. The description is flawless and the action is riveting. You’re well into your 2 nd act and you figured out a creative way to keep things interesting, your act 3 reaches a climax, an ending you’d never expect, the ending is fast and clever. It’s an ending that would make the audience laugh, cry and giggle like school children – this has Oscar written all over it – AND it’s all before your characters even open their mouths. NOW!!! Your characters start to talk and what comes out of their mouths are long drawn out monologues that explain everything you just wrote in your description, they talk about what they’re going to do before we see them do it. What they say is not what your character might say, doesn’t sound real, it’s cliché. All the hard work you put into creating your story is gone out the window unless you fix your dialogue. What you have to remember is that your characters have to act and sound like real people. If they don’t, your audience will notice. Don’t try to write clever dialogue, write real dialogue and the clever lines will appear naturally. By-the-way, real dialogue doesn’t necessarily mean that it’s the way people talk in real life, but it sounds like it’s the way people talk in real life. It’s a very fine art of editing and cutting down. I kept telling you over
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UCLA Extension - Screenwriting 1 L. Saber 2 the course of the last 8 weeks to cut your synopsis, edit your outline, cut, cut, cut and less is more. Nothing could be truer than to cut and edit your dialogue. There’s a lot of drama in real life and that’s what we, as writers, must master. We must develop the ability to imitate nature, to create a fictional character and situation without allowing it to look fictional. Let’s take a look at how we might talk to each other in real life, then cut that
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