Screenwriting Antics: The Dreaded Phone Conversation
And How to Decide which on is Right
Screenwriting | C.J. Hawkings
Today, we will talk about that dreaded phone conversation that writers hate writing.
We’ve all seen them on screen. Phone conversations. For the writer, it can often become hard to work out how to write one correctly. That begs the question: how are they written that is deemed acceptable? Depending on what genre the conversation is written for. In other words, it comes as crucial when deciding what kind of conversation to write.
Why the Screenwriter hates the Phone Conversation
The question is, why do screenwriters hate the phone conversation? It’s simple.
There are different ways of how these conversation sequences are …show more content…
I'm worried about her. I think somebody nominated her as a joke or something and when nobody votes for her, she's gonna have a total melt down. And who's gonna have to take care of her? Me.
Note: the above the example is word for word from an associating article on ScribeMeetsWorld.com.
4. One Sided
On occasion, a one sided conversation is exactly what is needed to create that ultimate spin tingling experience. For instance, a minor antagonist might be talking to the lead antagonist, though no one knows that except for the antagonist that is currently on screen.
An example:
INT. MOB BOSS' OFFICE - NIGHT
The mob boss sits at his desk, a fake, bloodied horse's head sits above his head on the wall. Pressed to the mob boss' ear, is his phone.
MOB BOSS
Yeah, she aren't going to expect that.
He listens to the other end of the line.
We do not hear what is being said.
MOB BOSS
Yes, yes. No matter what you might think, my little girl will not suspect that her man friend is her enemy.
An example would include the direct to DVD movie Doctor Dolittle 3 where Lisa Dolittle is talking to her husband John (Eddie Murphy in the first two movies) over the phone about their youngest daughter Maya and her behaviour, we do not hear John on the other end of the line. This is a one-sided phone
And How to Decide which on is Right
Screenwriting | C.J. Hawkings
Today, we will talk about that dreaded phone conversation that writers hate writing.
We’ve all seen them on screen. Phone conversations. For the writer, it can often become hard to work out how to write one correctly. That begs the question: how are they written that is deemed acceptable? Depending on what genre the conversation is written for. In other words, it comes as crucial when deciding what kind of conversation to write.
Why the Screenwriter hates the Phone Conversation
The question is, why do screenwriters hate the phone conversation? It’s simple.
There are different ways of how these conversation sequences are …show more content…
I'm worried about her. I think somebody nominated her as a joke or something and when nobody votes for her, she's gonna have a total melt down. And who's gonna have to take care of her? Me.
Note: the above the example is word for word from an associating article on ScribeMeetsWorld.com.
4. One Sided
On occasion, a one sided conversation is exactly what is needed to create that ultimate spin tingling experience. For instance, a minor antagonist might be talking to the lead antagonist, though no one knows that except for the antagonist that is currently on screen.
An example:
INT. MOB BOSS' OFFICE - NIGHT
The mob boss sits at his desk, a fake, bloodied horse's head sits above his head on the wall. Pressed to the mob boss' ear, is his phone.
MOB BOSS
Yeah, she aren't going to expect that.
He listens to the other end of the line.
We do not hear what is being said.
MOB BOSS
Yes, yes. No matter what you might think, my little girl will not suspect that her man friend is her enemy.
An example would include the direct to DVD movie Doctor Dolittle 3 where Lisa Dolittle is talking to her husband John (Eddie Murphy in the first two movies) over the phone about their youngest daughter Maya and her behaviour, we do not hear John on the other end of the line. This is a one-sided phone