Posts Tagged ‘Screenplays’

WAIT! Can it be? A fourth class in the wildly popular series of Grub Street classes that combine the best of literary fiction techniques with the punch of genre storytelling? Yes, IT IS! In this newest instalment of Michael Marano’s “Smart Page-Turner” sequence taught at Boston’s Grub Street, you will receive serious hands-on instruction from a multi-award-winning novelist and nationally syndicated critic that will not only infuse your genre fiction with literary gravitas, but that will also infuse your literary fiction with the readability and popular appeal of fiction genres such as thrillers, mysteries, Science Fiction and Fantasy, erotica, adventure, etc. Classes will include writing exercises and workshopping of students’ fiction. Specific topics are outlined below on a week-by-week basis. This class expands on topics covered in Grub’s “Writing the Smart-Page Turner”, “The Smart Page-Turner Strikes Back!” and “Revenge of the Smart Page-Turner”, but is open to all. Recommended for those with previous workshop experience.

Where? At Grub Street’s Downtown Boston HQ, right by Park Street Station on the Red Line and Downtown Crossing, 162 Boylston St #5, Boston, MA 02116

Who?   https://grubstreet.org/about/who-we-are/faculty/#MichaelMarano

Michael Marano is a horror and dark science fiction writer whose first novel, Dawn Song, won the Bram Stoker and International Horror Guild Awards. Stories From the Plague Years, a collection of Marano’s new and reprinted short fiction, was named one of the Top Ten Horror Publications of 2011 by Booklist. His supernatural crime novella “Displacement” was nominated for a 2011 Shirley Jackson Award. Stories From the Plague Years was reprinted in 2012 by ChiZine Publications of Toronto, who also reprinted Dawn Song in 2014, which will be followed by two sequels, A Choir of Exiles and Winter Requiem.

Since 1990, he has also been reviewing movies for the Public Radio Satellite System program Movie Magazine International. Mike’s pop culture commentary has appeared in many national publications. Marano is also a beginning circus performer, developing and choreographing narrative aerial pieces for the trapeze and lyra based on the works of J.G. Ballard and Philip K. Dick.

 

When? 10 Thursdays from 10:30am-1:30pm, starting September 7th, 2017

How? Enroll here! SCHOLARSHIPS ARE AVAILABLE! https://grubstreet.org/findaclass/class/the-smart-page-turner-reloaded/

OUTLINE OF THE CLASS

Week 1. Creating Suspense and Tension

What the hell is suspense? What the hell is tension? How are they different? How do they compliment each other? What are their components? We’ll dive in and examine strategies for creating suspense and tension in genre and non-genre contexts.

Materials: Daphne du Maurier’s Rebecca; Tracy Letts’ play Killer Joe; one of Lee Child’s Jack Reacher novels.

Week 2. Using All Five Senses

Ever read something that’s just blah, because the author is only using sight and sound to tell a story? You have FIVE senses… so why not harness them all for your fiction?

Materials: Patrick Süskind, Perfume; Elizabeth Kata, A Patch of Blue.

Week 3.  Stealing the Storytelling Techniques of Writers for Stage, Screen and TV, Part 1–“Tapping Real Life”

Some of the best storytelling created today is being written for performed media. We’ll look at how these techniques can be applied to prose fiction. First up, creating “Slice of Life” moments…when there’s this thing that happened… and you really want to write about it in a dramatic way. How do you take a “slice of life” that everybody can relate to, and still make it interesting and compelling? How do you avoid the dreaded, “Yeah, so?”

Materials: Emmy winners Judd Apatow and Michael White’s teleplays for the high school comedy/drama Freaks and Geeks and parts of renowned theater director Peter Brook’s essay “The Open Door.” A short story or two by Bonnie Jo Campbell

Week 4. Stealing the Storytelling Techniques of Writers for Stage, Screen and TV, Part 2– “Using Place and Time to Define Drama”

Drama and conflict and personal growth can’t exist in a vacuum. We’ll look at the specific ways the time and place of your story can and maybe should define its emotional impact and arc.

Materials: Emmy-winners Matthew Weiner & Robin Veith’s teleplay for the Mad Men episode, “THE WHEEL” and either Greg Mottola’s Independent Spirit Award-nominated script for Adventureland.

Week 5. Stealing the Storytelling Techniques of Writers for Stage, Screen and TV, Part 3–“Creating Personal Conflicts”

 Ever find yourself amazed at how some playwrights can just have a few people in a room, and the emotional results are like a UFC Cage Match? We’ll breakdown how they do that.

Materials Nobel-winner Harold Pinter’s play, The Homecoming and Pulitzer Prize-winner Jason Miller’s play, That Championship Season.

Week 6. Using Stanislavsky to Create Characters

Actors have a whole bunch of great tools to get into character’s heads. So… why can’t authors use those tools, too?

Materials: Kazuo Ishiguro, Remains of the Day or Never Let Me Go; Thomas Harris, Silence of the Lambs

Week 7. Using Setting, Part 1, The City

To really use an urban setting, even to in a work of realism, you have to tap a really unique sense of the unreal. Poets like Baudelaire and TS Eliot figured this out. And so have a few really great prose authors.

Peter Straub, “A Short Guide to the City”; Hubert Selby, Last Exit to Brooklyn or The Demon, Vera Caspary, Laura, Dorothy B. Hughes, In a Lonely Place

Week 8. Using Setting, Part 2, The Wilderness.

When you have characters in the wilderness, the real struggle isn’t always with the external wilderness, but the inner one. We’ll look at ways to tap that struggle.

Robert B. Parker, Wilderness; Bonnie Jo Campbell “Bringing Home the Bones”

Week 9. Satire and Hyperbole

When you take something emotionally real and blow it up, you’re using the same tool that humorists use, even when you’re not writing about something particularly funny. We’ll look at the ways that satire and hyperbole can be used to be funny and tragic.

Rod Serling and Michael Wilson, Planet of the Apes; Evelyn Waugh, The Loved One; a short story by P. G. Wodehouse; John Le Carre, Tinker, Tailor, Soldier, Spy;

Week 10. Catch Up, Loose Ends and Review

 

Advertisements

Some people have been asking me about my use of screenplays and teleplays in my new Revenge of the Smart Page-Turner class at Boston’s Grub Street. Why am I using so many materials not written in prose for a prose-writing class? There are a few reasons.

* A fresh set of eyes. When you’re a prose writer taking apart stuff written for another medium, it forces you to look at the techniques being used from another, fresh perspective. There’s a bit of intimidation when you’re trying to pinch techniques from writers like Cheever. When you look at how a screenwriter can take the themes Cheever explored and keep them intact in another format, you can glean some awesome new strategies that you can apply to your crafting of fiction.

* Problem solving. Screenwriters and teleplay writers have to be practical. They have a great “tool kit” for telling stories and developing character, usually on really tight deadlines. If you steal from their really versatile set of tools, you can avoid getting stuck in your prose writing, and create scenes that are not stuffy and/or un-dramatic.

* 20/20 collaborative hindsight. Screenwriting and teleplay writing are inherently collaborative. Screenwriters and teleplay writers have to work with directors, actors, set designers, etc. What does this have to do with writing prose? When you look at what directors, actors, set designers, etc. contribute to what screenplay and teleplay writers have written, you can come up with kick-ass ideas for character-and-plot-enriching nuggets to add to your prose.

* A lot are just damned good writers. To paraphrase T.S. Eliot, every good writer steals. A lot of screenplay and teleplay writers are, frankly, just really freakin’ good storytellers. If you’re gonna steal, steal from some of the best.

Revenge of the Smart Page-Turner will meet for 10 Wednesday-night sessions from 6:30-9:30, starting on April 6th at Grub Street Headquarters in Boston. To sign up, click here. Last day to enroll is the 6th.