12/13/2022 0 Comments Write a good drama storyNow this is pretty thin, but I hope you can see that this dialogue is motivated, that is to say tied to character and the desires of those characters. In-house is going to save us a bomb on outsourcing. By building up Fred to be a manager obsessed with the bottom line and Lily as someone lower down the hierarchy who just wants an easy life, we could re-write the dialogue like this:įred stands at the printer admiring the quality of his latest documents and blocking Lily’s access. Let’s go back to that sticky bit of dialogue from earlier. Once you have a group of characters with different profiles and motivations you’re off to a good start for the drama to write itself. One is busking it because she isn’t up to speed. Perhaps one of the characters is late? Another might have their mind elsewhere. To bring the scene to life we can add in some seasoning. Is any the boss of the other? Are there any hidden agendas? Hidden attractions? Personal secrets? Rivalries? Foibles, nationalities, enthusiasms? Then you can look for relationship elements within the team. Sex, age, personality (introvert/extrovert) and so forth. Once you’ve got a cast of characters defined by job role and their interests in relation to what I’ll call the learning object, you can give them other characteristics that are less pertinent to the learning object to make them more rounded. What are their drivers? Is it money or quality of life? How do they relate to the others in this scene? Are they up or down the hierarchy? Once again, these differences can be used to articulate understanding of the issues. Now flesh out your characters by seeking more individual characteristics. This work enables you to embody the attitudes of groups into symbolic characters. Such attitudes can be grouped together and used as the basis for your characters. It might be that there’s a lot of resistance from one department, while another is very pro. Start by creating profiles of the different factions within the organisation and how they might relate to this new procedure. High level facts and hearts and minds stuff. What you can do very well within a drama is to give a quick and deep insight into how the change will affect the organisation, and address the various pain points about its adoption. There’s no point in explaining all the facts in the scene, this is the wrong place for that. The task of the scene is to tell the audience, in a relatable way, about the system, what it is and how it’ll work for them. Let’s assume you’ve been handed the job of writing a scene in a realistic style, in which characters from different departments discuss the pros and cons of a new printing system that impacts each of them differently. Users will learn by relating to the meaning that various characters assign to the facts, and further insight by seeing how these play off against each other. Making facts into a story begins when we assign meaning to them.Ī good way to begin is to look at what those facts mean to different stakeholders, and to embody those stakeholders as characters. So, how do we turn facts into drama? All stories are about facts (or imagined facts). The funny thing is, a script of this nature is far harder to act and direct than a script that is properly dramatized. Such content would be better delivered by a presenter talking to camera, or in text form. This is a bunch of facts put into the mouths of actors, masquerading as a drama. Remembers my log-in code and asks me if I want to Yes, great isn’t it? Not only that, but it
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