Stressful but Exciting.
Looking for inspiration?
Since second year (as I've mentioned previously on my blogger) I've been getting more in touch with Social Media as a platform to see other artists work, get in contact with other artists and promote myself. Artists like Natasha Allegri, Phillippa Rice, Sarah Graley, Rebecca Sugar, Leslie Hung, Andrew Maclean, Erika Moen, Laura Lewis, Gemma Flack, Fran Meneses, Gemma Correll, David O'reily... and so many more, make quite the impact on social media either through their posts across platforms or having their followers drawn to them by their latest publications. Seeing updates and general gossip sure does add a new level of reliability to checking up on your favourite illustrator or creative. I discovered through my favourite artists social media pages the latest stuff they've been working on, which is brilliant (that and volunteering at Thought Bubble and talking to other cartoonists about *insert artist name here*). For instance, Phillippa Rice has been working on the YouTube series 'Soft Spot' which is basically stop motion animation and little cute animations, funded by her patreon account directly by fans who love her content. I also found out more about her work by meeting her at Thought Bubble and talking to other volunteers about her.
Note: I've realised my inspirations for this project are far too many to fit nicely into this blog post. So I'm going to write a separate blog post about every bit of my inspiration, that you can find here.
Yes but, who do you write scripts? Properly?
When I first started BA(hons)Animation, nearly three years ago, I was given a reading list of animation books to look into. One of these books 'Basics Animation: Scriptwriting' by Paul Wells has had a firm place on my studios book shelf ever since. I've been using this book to help me develop scripts since I bought it. Chapter 4 which focused on script development and storyboarding I found most helpful for developing this script. The chapter contains two case studies that breakdown two animated works - 'Charlie and Lola' and the series script writing as well as 'William and the Camel' and the storyboarding behind it. This chapter doesn't break down script writing formula for animation but rather displays the formula for an animated episode, which is nice to see as an example of 'this sort of thing for animation scripts'. This was much the same for the storyboard part of the chapter, however I found both very useful in referring back to when I was writing the script.
I also read ' Your screen play sucks! 100 Ways to make it great '' by William M. Akers. The books chapters go from storytelling, to physical writing and what to do after finishing a script (which is all very helpful!). The book doesn't give pointers on what to do to write a 'good script' but rather what things to avoid and never do. Part 4 of 'Idea' focuses on the mistake of writing a script that's interesting to only you and is other wise boring to everyone else. After reading this I focused on that I didn't want to fall into the trap of writing this script purely for my own satisfaction. That I wanted to write a script that artists could identify with as well as members of a minority, that was presented in a way for anyone to identify with or find enjoyment watching.
Part 11, within the over all chapter of 'Character' focuses on the mistake of writing a main character that isn't interesting and the audience can't relate to. '' If your lead character isn't mesmerizingly compelling to the reader, it's all over but the crying. She can be the biggest jerk in the universe, but if she's interesting, we're hooked '' - Page 30. When writing characters that weren't helping the main character active their goal and distancing them from their goals, there for were antagonists, I kept this in mind. As long as these characters were interesting, they'd be enjoyable. I didn't want to write 'bad guy' characters that were just bad guys, I wanted to write realistic characters that moved in their own way and spoke uniquely. The remaining of the book I found incredibally useful as it clearly documents examples of bad script writing from the phrasing to the layout, much like the other book I've been referring to. I particularly found the moments where the author drew to better explain and visualise his point (check out pages 88 and 89 if you're interested).
I've also been meaning to purchase and read 'Starting Points: 1979-1996' By Hayao Miyazaki after reading a sort clipping from the book published on Cartoon Brew's website (Which you can find here!). The the short big published on Cartoon Hangover, Miyazaki talks about the first moments he has coming up with an idea for a film. '' The stories and original works—even initial project planning—are only triggers. Inspired by that trigger, what rushes forth from inside you is the world you have already drawn inside yourself, the many landscapes you have stored up, the thoughts and feelings that seek expression. '' I also watched 'BLOOP ANIMATION's Animation tutorials on YouTube, mainly the one about script writing (Watch it here!).
I also had James Grimshaw (an english degree graduate and all together talented guy) looking over my shoulder and helping me out with writing formula. Thank you James.
I also read ' Your screen play sucks! 100 Ways to make it great '' by William M. Akers. The books chapters go from storytelling, to physical writing and what to do after finishing a script (which is all very helpful!). The book doesn't give pointers on what to do to write a 'good script' but rather what things to avoid and never do. Part 4 of 'Idea' focuses on the mistake of writing a script that's interesting to only you and is other wise boring to everyone else. After reading this I focused on that I didn't want to fall into the trap of writing this script purely for my own satisfaction. That I wanted to write a script that artists could identify with as well as members of a minority, that was presented in a way for anyone to identify with or find enjoyment watching.
Part 11, within the over all chapter of 'Character' focuses on the mistake of writing a main character that isn't interesting and the audience can't relate to. '' If your lead character isn't mesmerizingly compelling to the reader, it's all over but the crying. She can be the biggest jerk in the universe, but if she's interesting, we're hooked '' - Page 30. When writing characters that weren't helping the main character active their goal and distancing them from their goals, there for were antagonists, I kept this in mind. As long as these characters were interesting, they'd be enjoyable. I didn't want to write 'bad guy' characters that were just bad guys, I wanted to write realistic characters that moved in their own way and spoke uniquely. The remaining of the book I found incredibally useful as it clearly documents examples of bad script writing from the phrasing to the layout, much like the other book I've been referring to. I particularly found the moments where the author drew to better explain and visualise his point (check out pages 88 and 89 if you're interested).
I've also been meaning to purchase and read 'Starting Points: 1979-1996' By Hayao Miyazaki after reading a sort clipping from the book published on Cartoon Brew's website (Which you can find here!). The the short big published on Cartoon Hangover, Miyazaki talks about the first moments he has coming up with an idea for a film. '' The stories and original works—even initial project planning—are only triggers. Inspired by that trigger, what rushes forth from inside you is the world you have already drawn inside yourself, the many landscapes you have stored up, the thoughts and feelings that seek expression. '' I also watched 'BLOOP ANIMATION's Animation tutorials on YouTube, mainly the one about script writing (Watch it here!).
I also had James Grimshaw (an english degree graduate and all together talented guy) looking over my shoulder and helping me out with writing formula. Thank you James.
Writing the script
I used the already installed and free software 'Pages' to write the script because I was too cheap to purchase Microsoft Word. I had read online that Word offered and script layout to help with script writing work. I found online from artists I follow on social media that they use 'Final Draft' for scripts, which is basically a Word like writing software for script writing. By this point I'd already started using Pages. I would rather purchase the software when I could afford, then it then installing it 'other ways' which I can't see being able to afford any time soon because it's over £200.
So, maybe some day.
Firstly I drafted up 'pin pointed' moments I wanted in the script, taken from my notebook for this project. I kept looking back and forth, roughly placing out the pin points before begining to fill in between them to draft out a rough script. I reviewed the draft and sent it to a few artist/writer/relative friends I knew of and with their feedback, began working on a second draft. Not much changed between drafts, besides dialogue from characters. After about three rough drafts I then had the first script to work with, with I showed my tutor. She approved it and I began working on colour scripts and rough storyboards from the script. As I was working on these, I also went back and forth between changing tiny details about the script or shortening/lengthening certain parts.
So, maybe some day.
Firstly I drafted up 'pin pointed' moments I wanted in the script, taken from my notebook for this project. I kept looking back and forth, roughly placing out the pin points before begining to fill in between them to draft out a rough script. I reviewed the draft and sent it to a few artist/writer/relative friends I knew of and with their feedback, began working on a second draft. Not much changed between drafts, besides dialogue from characters. After about three rough drafts I then had the first script to work with, with I showed my tutor. She approved it and I began working on colour scripts and rough storyboards from the script. As I was working on these, I also went back and forth between changing tiny details about the script or shortening/lengthening certain parts.
From the begining of this project I wanted to create something that featured LGBTQ+ and Feminist themes, but that didn't necessarily entirely on those themes. As a member of LGBTQ+ my entire life doesn't focus on that aspect of my identity however that doesn't mean I'm not vocal about that part of myself and what to see that part represented - I want to create something that embodies this, the of inclusion of LGBTQ+ without pedestaling or pedestaling to the point of alienation of that identity. I also want to write and create female characters that matter and have an impact to the script besides love interests or objects of achievement.
Here are some screen shots of the 'finished script' unless I decide part way through the project I don't like a certain part or want to change something (which is unlikely, but could happen)
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| Script Pages |
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