• Screenplay improvements.


      I finally made the decision to fully adapt the story to Korean Screenplay format.

    - The hybrid format used so far doesn't make the understanding better.
    - Since the story is already mainly told as a Screenplay, it might as well be done as accurately as possible.

    - With the exceptional presentation elements (colors) and photos, the screenplay will probably be more understandable. Particularly because it will add precisions.
    - My philosophy is and remains to offer an attractive presentation, with extra features, more pleasant to read than a screenplay or a novel, for the HTML rendering. I can also export the files in .txt format, only text, screenplay like, far more accurate from a producer point of view. 
    - Through experience and constant learning about screenwriting, I have progressed enough to develop several reflexes and a better awareness about scenes details. Time to apply it fully, and not halfway.
    - Without looking for absolute perfection, because correcting 68 episodes is very time consuming.
    - I hope to get a valid result. Something a producer or a pro screenwriter could enjoy to read.

    - I was stuck for a long time, not knowing what decision to take. Continuing with the photo-drama is probably something I want to do, but the problems with the writing became overwhelming. And it takes an incredible amount of time to make the photo montages. So I changed my priority. 
    - Once I've corrected the first 10 episodes, I can correct the episodes that haven't been published yet, or correct episode 11 when it comes time to do it as a photo-drama. 
    - If I abandon the photo-drama, it will be a simplified photo-drama, with only one picture per character. But the text will be corrected, and that's a must anyway.


       Compare the result!

    - I've reworked episode 1 in depth and I've put the episode online.
    - You can compare with the old version: http://w4worlds.fr/html/W_Saison2_Script01_US_old.html
    - The corrections include of course everything related to the format of a screenplay.

    - But not only! Many texts have been shortened, descriptions made clearer and more concise.
    - There are even some corrections on the meaning and dialogues. Like one of Park Min-Soo's lines.
    - I also take the opportunity to correct some clumsy English translations.
    - To stick to the spirit of a screenplay, I mention more visual elements, what the viewer sees.
    - All older versions will stay on the server. Just add "_old" before ".html" in the link to access them.



       Korean screenplay format is different from the Western one.

    Scene headers.

    - The scenes are numbered. Example: "Scene/1". There is no rule about how, it can be S#1, or just #1. 

    - There is no INT/EXT indicator. So the description of the place have to make sure it's inside or outside.

    - Time indicator (day/night) is put in parenthesis. But not always! It can also be abreviations like (D) or (N).

    - Scene headers may contain the information "Recall" for flashback type memories, or "Dream" for a dream.

    - A scene header can contain two different locations, separated by a "+". This is useful for example for two people talking on the phone.

    - A scene header can contain the keyword "MONTAGE", and then the scene is composed of sub-scenes. Numbered like this "C#1, C#2, etc". Each sub-scene has a Place and Time indicator, except when it's a very short description of one line.


    - There are very few indications such as "FADE IN", "CUT TO", etc. Writed "F.I.", "F.O", for example. This is more natural and readable for an ordinary reader, who is not bothered by technical terms.

    - The descriptions intersperse the dialogue much less. There is a single description at the beginning of the scene, then dialogue, very often. In doing so, a line of dialogue may contain only a description of an action, as a didascalia (parenthesis). It's forbidden in western screenplay, which separate action lines and dialogues lines. Thanks to that, korean screenplay can offer a dynamism impossible to reach otherwise.

    Dialogs .

    - Dialogs are not centered, instead the character's name appears on the left, on the same line as the dialog. Again, this is more natural. It's like in a novel, except that it has the huge advantage of mentioning the character who is speaking. And so it's much clearer and faster than a novel. There is no need to add phrases like "- Blah blah blah, says the character, in a low voice".

    - The dialogs are lively. For example, a line with just "... !!!". This signals an expression of the character without the need to describe it. The dialogs often have interventions of characters who don't say anything. It's like a suggestion of shots for the director. It's also helpfull to create pace in a dialog from the same character. Just end the line, and it create a natural pause before the next line.

    - I remember to wrote some complex dialogs+actions like that, and I was thinking: how I write this in western screenplay ? Too complicated, too long and too painfull. Even if I do, it would loose all the feeling.

    - Voice-overs are indicated with a "(E)" marker. I don't use this because I use the alinea symbol "~" and italicized text. Some scripts use (O.S.) or (O.L.) for outscreen, or (V.O.) for voice-over. It vary from one script to other, but there is always this kind of clear indicators in a way or another.


    - If a short flashback is used inside a scene, the script uses the symbols "<" and ">", which unfortunately I cannot use because they are reserved characters for HTML. There is a blank line later, making clear the flashback ended.

    - However, I also remember the use of the keyword "INSERT". What I will alway use, so it's always clear and the same format. I even make improvments so there is always a keyword, the same ones, at the same place.

    - A flashback using a scene already seen in the drama always indicates the episode number and the scene number. Here, I can't indicate the scene number, because it will change too much with the corrections. I guess it's the assistant's job to do that.

    Make choices.

    - It's not easy to choose a solution or to know what would be the right one.

    - If there is a scene with too much flashback, I use the MONTAGE method, because it's almost a Montage, but with small backs to the present scene, which still have little dominance. It would be too much to write a scene for just one line when it come back to present. The reader would loose track of the situation.

    - If there is only a few flashback, I use INSERT instead, because the main scene is more predominant.

    - If a flashback is long and more isolated, then it should be a scene, so I use Flashback in the scene header.

    There are other features, but I've mentioned the basics. 




       How I know that ?

    - I study hard Song Jae-Jung "W" script. I refer to it everytime I need to know-how. 

    - Translation isn't great, but enough for me to understand how she write, what kind of feeling to put in the script. It's different of Western screenplay. More emotion and thrill. Some subjectives sentences without excess. Concise about what should be. I would need to comment more about her script.

    - It's great to get this because unlike some others dramas, there is all script situations: flashback, dream, montage, insert, abstract content (manhwa cut), complex scene order or intercut. It's the perfect script when you learn how to write korean screenplay.

    - I also look at some others korean drama scripts. So I can see what are the common rules, and how they differ about some points. There is no absolute standard like western screenplay. In short: always make sure everyone understand everything is the point. Write it always the same way once you choose a standard, so there is no disparencies. But the overall rules are always the same.

    - Overall rules : Scene number, dialog on the left, blank line to separate description and dialog. Should always get time indicator (day/night), but I even found some screenplay with scenes without !

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