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By Whiterhead J. H. C.

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A. student, the horrors of filmmaking. ” See where the creative river takes you. That’s what another student, Andy Zare, did after I threw a fit in my screenwriting class because all the ideas were so familiar. Boring. Sleep city. Yawners. ” And I walked out of class, leaving my students there, a bit stunned. Andy went home and brainstormed. I was always fascinated by superheroes. Superfriends was my favorite cartoon when I was a kid. Superman wasn’t my favorite because he could do anything. I was more intrigued by the less-than-mainstream heroes that had odd abilities like Aquaman and the Wonder Twins.

In Slow Dancin’ Down the Aisles of the Quickcheck, thanks to external and internal moments of change, Earl is finally able to say—or sing—how he feels to Maybelline. How do screenwriters make these changes—some might say “miracles”— happen? By creating a pattern of change in their characters’ outer life that changes their inner landscape forever. Hamlet was right. Art does hold a mirror up to nature, because our lives work the same way—external events force inner change. SURFACE AND DEEP ACTION When I’m writing a screenplay (or a novel or a play or a memoir, for that matter), I find it useful to break the story I’m telling into the external and Connecting to Screenplays 33 internal patterns of change.

3 MADNESS IN YOUR METHOD How do you work best? In long stretches or short bursts? The screenwriter Mark Spragg prefers total immersion. “I work seven days a week, all day long, ‘til I drop, so the subconscious is so saturated, it’s what I dream about. ” Writing tools may seem like a trivial consideration, but you need to know what works best for you: Pencil and paper? Pen? A computer? A typewriter like Barton Fink? ) I need pen and paper when I start a project—or a piece of one, like this chapter.

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A Method of Obtaining Normal Representations for a Projective Connection by Whiterhead J. H. C.


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