So, I have this screenplay… the assignment was to write a screenplay for a short film — no more than 30 pages. It began with a “pitch,” then a “treatment” and ultimately a series of drafts that produced a final submission. My first draft produced a 74-page screenplay that Phil graciously plowed through and marked up. “Tighten,” was the predominant scrawl. There were also good comments from the rest of the class about the believability of some of the characters, the amount of violence, etc. that provided a sort of focus group for the story (though most of the class, I think intimidated by the sheer length, passed on reading the whole thing). Nevertheless, Phil indulged my graduate student status and let me continue with my feature-length film script over the prescribed shorter version.
What became clear was that this was not a short story. There are lots of characters, the plot is complicated, and the setting is highly relevant to the way people act and the things that drive the story. There is more than a bit of story-telling here.
You have to add to this the anchor of my thesis which is what gets “made” in this fictive future — the design-fiction motive. It requires a level of research into science, government, medicine, crime, society, transportation and history to give context to the culture that begat these design changes.
The screenplay was written using a free, downloadable piece of software called Celtx that actually lets you convert your screenplay to comic book format. Though it was unable to read my mind, the conversion was a handy way of putting you in the panels and pages mindset. A lot of tweaking is needed. I have continued writing and editing the story as well. As I have mentioned in previous posts, the comic format allows me to break all the screenplay rules of exposition and generally lay it out however I want since this is a reading and visualizing medium.
Already, then something of a change to my setting. In a perfect world I would have had the whole thing take place in Tokyo. I love that city and have spent a fair amount of time there. I understand the aesthetic and I can see it in some future fiction. However, it doesn’t play into my storyline. China is huge in my future which had me switch to Hong Kong another amazing city, but one that I have no visceral attachment to they way I have with Tokyo. But now as I have been spinning away at Hong Kong, I’m starting to think that you need to have some deep knowledge of the place to write about it even if it is a hundred and twenty years from now. So I took the script back to my screenwriter (me) and we hashed a new, and frankly much improved scenario. I’ll share:
The government of New Asia, which accounts for 75% of the world’s population, is now headquartered in what was New York City. Officially renamed New Hong Kong (for the locals, it was easier to swallow than New Beijing) in 2079, most people have shortened it to HK2, some call it King Kong. The original Hong Kong is still Hong Kong. It was a gentle change of command; China repossessed it all. It was all perfectly legal and peaceful. Most former Americans reluctantly acquiesced. Bankruptcy is a bitch.
I’m excited about transforming New York into New Hong Kong and I am ever so much more familiar Manhattan. But strap yourselves in. It’s going to change a lot.