One of the exercises I assign in my writing workshop is called “Writing with your 5 senses.”   The assignment sounds simple, but it can be challenging:

Use all five senses during a scene. Use the senses in an organic and integral way so that they actually spur action or reaction in a character or characters and aren’t just referred to in the action description. Don’t tell me it’s a breezy day. Cause a character to react to the breeze in a way that furthers the plot. Make him lose a scarf or pick up a stray napkin blown off a table by a stranger (soon, perhaps, to become a love-interest…)

We rarely use the senses of smell and touch while writing. It’s easy to incorporate sound and sight. Those are the two staples of storytelling on screen. But how to include taste, feel, and smell?

When writing through the senses, we become more viscerally involved with our characters. Suddenly, the scene springs to life and we become more connected to the very moment we are in. As in life.

I also assign a “Walking with your 5 Senses” exercise:

Take a walk in your neighborhood. Spend a minute focused on each of the senses. But don’t just think about the sense, “I’m smelling now,” actually be IN the smelling. Experience all the smells. Be in the world through your sense of smell. Go through every sense in this way. When you’ve completed, integrate them all at once and try to experience your surroundings through ALL FIVE SENSES at once. It’s an amazing meditation!  Try it many times in a row on a walk and you’ll find yourself so fully present in your body that you’ll feel as if you’ve meditated for an hour!

I have created many games and exercises to help the writer be more present to the moment. With my background in meditation, I have learned to get myself into a deeply connected place when I’m writing. Sometimes I have resistance to starting the process. I’ll do anything - even the dishes! - in order to avoid typing or writing the first word. Having an exercise with an objective can be helpful in getting the creative juices flowing.

I’ll share more ways to access your unconscious mind in the future. For now, happy writing!

May the Force write with you!

-- Anne

 
 
Lights, camera, ACTION!!!  And the AWARD goes to…

by Anne Norda
www.writebrainworkshop.com
annenorda@gmail.com

I examined two Oscar nominated scripts, THE DESCENDANTS and HUGO and discovered two distinctly different writing styles. Both reveal writing techniques and tricks that could be helpful to any writer. In the spirit of Oscar season, I have given awards to various achievements in the writing styles of each. Because they are both adaptations, the writers had rich resources to cull from. What sets these two scripts apart from most is the fact that the writers created a style that exquisitely captured the tone and subject matter of the original stories with flair, extreme artistry and heart.

I loved the action writing in THE DECENDANTS, written by Alexander Payne, Nat Faxon and Jim Rash. It was sparkling, fluid, emotionally rich, though very trim! Qualities I aspire to in my personal life! The script is brilliant, with some of the best dialog I have read in a very long time.

The writer of HUGO, John Logan, found a way to translate the imagery of the graphic novel it was adapted from and express it beautifully in a non-traditional screenplay format. He used an almost ridiculous amount of space (most screenwriting teachers would be horrified!), short sentences and ellipses to generate the feel of images strewn together fluidly, creating “beats” between them.

In their action descriptions, both scripts cleverly leave space for the actor and the director to invent. They tell us the bare minimum and leave the rest up for interpretation. Like some of the best poetry.

Enjoy these awards! And send me your thoughts on any other scripts that should be considered for future awards.



BEST SUCCINCT CHARACTER DESCRIPTION AWARD -- THE DESCENDANTS:

Matt notices a BUFF GUY and some FRIENDS headed to a nearby table, and his mood sours.  Scottie follows his gaze.

The guy notices the Kings and feels obliged to mosey over.  This is TROY COOK -- athletic and rich. 


MOST PUNCH IN A CHARACTER DESCRIPTION AWARD --  HUGO:

But it is not his father.

It is his UNCLE CLAUDE. Unshaven. Greasy. Crude. Huge.



BEST CHUNK OF VOICE OVER AWARD -- THE DESCENDANTS:

INT. AIRPLANE – DAY
Matt and Scottie look out the window at THE BIG ISLAND coming into view.

                    MATT (V.O.)
          Somehow it feels natural to find a
          daughter of mine on a different island.
          A family seems exactly like an
          archipelago -- all part of the same
          geographic expression but still islands
          -- separate and alone, always drifting
          slowly apart.



MOST POETIC CHUNK OF DIALOG AWARD -- HUGO:

                    HUGO
          Right after my father died, I would
          come up here a lot ... I would
          imagine that the whole world was
          one big machine. Machines never
          have extra parts, you know.
          They always have the exact number
          they need. So I figured if the
          entire world was a big machine I
          couldn’t be an extra part, I had to
          be here for some reason ... And
          that means you have to be here for
          some reason, too.
              
               
MOST ELEGANT ACTION SEQUENCE AWARD -- THE DESCENDANTS:

Alex looks at him, takes a couple quick, loud inhalations, then slips --

UNDERWATER --   

-- where she SWIMS, FACE CONTORTED, hoping to stay down there forever.  Finally she emerges --  

ABOVE THE POOL --  

-- and gets out, grabbing a towel, crying now.



MOST ROMANTIC ACTION SEQUENCE AWARD -- HUGO:

He stops.

Looks at her.

Should he tell her?

Should he trust her?

Yes.

He points.

                    HUGO
          There.

She looks...

Across the river...

The Train Station.



MOST UNUSUAL ACTION WRITING STYLE -- HUGO:

INT. TRAIN SATION -- SECRET APARTMENT – NIGHT
Hugo is with the Automaton.  Looking at it sadly.

Without the notebook, Hugo isn’t sure how to proceed.

A beat.

Hugo stares at the inner workings of the Automaton...

Then...

Something seems to shift in Hugo’s head ... Somethig makes sense ... he sees it now ... gears line up ... a beautiful clarity begins to emerge...

Hugo picks up a screwdriver, begins to tinker.

Then to work in earnest.

Without the notebook.

The Automaton seems pleased. 


MOST POETIC ACTION DESCRIPTION AWARD -- THE DESCENDANTS:

INT. ALEXANDRA’S ROOM – CONTINUOUS
-- where Matt places Alex on her bed, takes off her shoes, covers her with a blanket, and watches this tsunami of a girl at rest. 


 
 
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