Introducing
Your new presentation assistant.
Refine, enhance, and tailor your content, source relevant images, and edit visuals quicker than ever before.
Trending searches
Levi Dean, Ph.D Researcher
Bangor University
levi@screen-time.co.uk
AIMS
Walter White
(Breaking Bad)
Question at Slido.com
"What do you think the screenwriter is trying to achieve in this clip?"
"How can a writer encourage audience engagement for a morally bankrupt
Anti-Heroine."
Vaage's narrative techniques + case study television anti-heroines =
Wheel of Techniques for writing anti-heroine
Floyd Gerhardt
Nancy Botwin
Sarah Lindon
New narrative techniques added to Vaage's existing framework
Logline:
When a single mother faces a custody battle with her own sister, in desperation for money, she uses that same sister's piano rental business to smuggle narcotics.
Something else was brewing subconsciously, influencing my decision making as a writer...
The narrative techniques helped removed a set of secondary characters that didn't fit into the new wheel of techniques.
However, there was one character, a young boy named Clarence, that didn't fit into the wheel but I couldn't bring myself to remove.
Why?
The characters Clarence was a projection of myself; a child with a turbulent upbringing.
Writer’s voice is vital in encouraging audience engagement.
Yet it's a 'fuzzy, slippery, hard to define, and nearly impossible to teach' concept. (Sperling & Appleman 2011: 71)
An author’s individuality being reflected by their unique self
VS.
A culturally manufactured set of beliefs and no self can exist in a narrative
OR
Voice is simultaneously social and personal (Prior 2001).
(Elbow, 1981)
"Speak the rude truth and don't censor impulses."
(Romano 2003: 49)
Culture
Four Walls:
Screenwriter
Family
Education
Gender
Four Walls:
Screenwriter
Education
Family
Saul Goodman
Walter White
Creator: Vince Gilligan
Case Study: Vince Gilligan
Is Gilligan's inner voice exploring what happens when a talent is left unfulfilled?
How do you explore your writer's voice?
1. Don't just rely on narrative techniques.
2. It is voices not voice.
3. Parrot what others have said (Kallas 2014).
4. Identify gaps - Four Walls.
Beyond all else: Be honest with yourself.
Bakhtin, M. (1981). Entries ‘Dialogism’and ‘Heteroglossia’. The Dialogic Imagination: Four Essays, 423-434.
Barthes, R. (1968). The Death of the Author. 1st ed. University Handout.
Elbow, P. 2007. Voice in Writing Again: Embracing Contraries by Peter Elbow. In College English 70.2, Nov, 168-88.
Foucault, M. (1979). Authorship: What is an Author?. Screen, 20(1), 13-34.
Riyanti, D. 2015. An Exploration of Voice in Second Language Writing. The Nebraska Educator: A Student-Led Journal, 28.
Romano, T. 2003. Writing with Voice. Voices From the Middle, Dec, 11, 2; ProQuest pg. 50.
Dean, L. 2019. Altering Screenwriting Frameworks through Practice Based Research: A Methodological Approach. New Writing: The International Journal of Creative Practice & Theory.