Writing a screenplay takes a lot of time and effort. These are my flowers.
-Hybrid is a story within a story about how the future will judge us and creating an enlightened society.
-TNC is an international conspiracy to possess and manipulate the truth of Virgin’s Mary’s testimony to St. Luke.
-Sotru is non-other than the mother of all equal rights advocates and how truth sets us free.
-Isabel is a determined woman that gets what she wants in a future life.
-Robbie is a rock that holds the wisdom of the universe within accessible only to those with pure hearts.
I have another one coming soon. And there are others without graphics yet.
There is no such thing as a Script Bible. There is a show bible, but that’s not what I am talking about. I mean, there is not just one way of writing a screenplay. However, if we speak the same language, we will understand each other better as writers, and filmmakers. Plumbers understand plumbing terminology and are understood by other plumbers all over the world. If you’re going to write a script you must learn the language. Check Angela Terga’s Author Profile
The way a screenplay is written, each line, and line by line, accounts for each second in the screenplay. Each page is a minute long and when you shoot and come back to the editing house you can then cut it according to the script as a minute of the movie in order to stay within the minutes the movie is written for (90-120 pages is standard). All the other abbreviations and terms in a script are part of the uniform language that helps writers and filmmakers speak the same language all over the world. This is the way I write a script. I start with notes. These notes can be very useful, and organised in a logical way may prove to be the best way to achieve clarity in what you are going to write. You can categorise your notes according to the need of the organic story’s genre. If it is a biography you may want to make a page of notes for each period. That way when you research, you will place those notes under the right heading. If you are writing fiction and you have elements of mental health, fire rescue, or types of diseases, to mention a few, you can place your notes under these headings.
When researched for Isabel III, I did extensive reading on the Seminole wars, the Spanish sale of Florida, Ft. Mose, St. Augustine, Black Indians, the Lighthouse, bipolar disorder, Hollywood gossip, and more. For Hybrid, I researched genetics, the Amazon, nuclear blasts, you get it. Under each heading, I place the notes that will help me understand the topic and manipulate it. So I ask Google specific questions about the matter, read books, watch youtube videos, you name it. That’s research. You can never do too much of it. You become a demi expert on each of the subjects you have researched about. But the knowledge may not stay in your memory if you don’t keep on interacting with it. That’s just the way we use our memory to learn. Practice means you must keep talking about it, reading about it, staying on top of it. And that’s just too much information if you have another screenplay on the front burner and are now interested in learning other things.
Now the trick is to make the flow of the screenplay seem effortless. Where do you go first, second, third and last? That’s all you need to know to write a screenplay. First, the world of the protagonist, the setup, then inciting incident that launches the quest. Imagine a hero that doesn’t accept the challenge and goes away! Could we make a funny movie about that? You bet! Will fate find this unwilling, uncooperative hero so we can have STORY? You tell me. We could write a story in which the hero is not a hero and that makes him or her more likeable, more human. Hybrid, the spiderwoman from the Amazon, her name is Taharai, meaning detached, is a non-hero hero who just wants to observe humanity at first and learn how to be more humanlike and less detached. But then she ends up being a hero for the underdog when she finally becomes humanised and sees the world with compassion or non-judgement.
I think everyone that ever graduated from high school, or even just has a 5th grade education or less, knows that every story has a beginning, middle and end. Acts, 1,2,3. The second act is where we can get lost in a quagmire swamp of events, and what leads one to another. Where we cut and who we decide to start each scene with determines the arc of the characters as well as the events. Not just the protagonist has an arc. So the most important thing is to create a timeline of events or an outline to follow. So I create the timeline and from there the Treatment and from there the script is written. If I change something in one document I change it in the others and go on. But what about the characters? Characters are described and have a profile so that we can show what their POV is by the way they react. That’s very important. You want to show everyone’s side of the argument and argue intelligently, desperately, passionately or how ever you decide in favour or against something. Some people may have more than 3 acts. If you divide the second act into two you would have 4, you can have 6 or 7 acts. Each act is its own story within the story that connects to the overall story and moves the action along. We want things to move towards the climatic moment after all hell’s loose and either win or lose or both, or none. So that we can have closure.
Some movies seem not to have closure and we wonder what happened next, that’s okay, too. Anything and everything is possible. Nowadays we see a lot of non-linearity in movies. Stories are not told from beginning to end but as bursts of memory, parallel universes, in flashbacks, going back and forth in time. I thought it was just me that couldn’t do the beginning to end thing but as I learned from my workshop with Linda Aronson, there are lots more storytellers that think non-linearily than what I imagined.
My next screenplay, the one I am writing now is a big challenge for me. I am a ghost writer and it is sometimes difficult to make myself understood. I may talk screenplay jargon not realising that the other person or main writer (the owner of the story) hasn’t learned that language and should not be required to either. Instead, I must adapt to speaking in lay terms and not be overly excited about the little artistic nuances encountered in order to make the ebb and low as organic and exciting as possible. I just see the story in screenplay writing terms and I must also see it as an engineer or a scientist might. Well, challenges only have one way to go, you must face them. and here I am.
Also, one more thing I want to mention is that Hollywood did not invent screenplay writing or storytelling. That’s just as old as mankind. What Hollywood does have a handle on is how the average person understands the story. But this knowledge comes from psychologists like Karl Jung and mythologists like Joseph Cambell whose books on the subject have been studied by dramaturgs to see that indeed, storytelling follows a natural flow, beginning, middle, end. Now how we want to start is up to us, where we want to go from there, too. The audience will put it all together if we do a good enough job of making the events flow in a synergistic way with whatever our imagination creates.
Happy writing everyone! It’s Write of Die for me too as a woman in film taking flight.
My decision to quit my job as a teacher didn’t just come about over the course of this very eye-opening school year. It’s a dream come true, an answered prayer and a leap of faith.
The teaching profession as the Antagonist. Not only do teachers receive the same pay they were receiving 20 years ago, if you think of the increase in the cost of living, but they have fewer medical benefits and less job security than only a few years ago. The health hazards of the profession include tinnitus, a dropped bladder, depression, and obesity. The ringing in my ears started several years ago and gets worse with noise and stress. Restroom breaks whenever my body needs them is a privilege only for other professionals, I must rush and feel guilty when I do. Obesity may be a sign of depression. Yoga, meditation and self-help books help, but it’s not enough. Depression comes from frustration and lack of motivation. Lack of motivation comes from being frustrated. It’s a vicious cycle. The feeling of not having enough is another cause of depression. The positive financial gain of the modest state retirement plan program for the future when all is done and said, is offset by the lower wages received throughout the career years. It just comes to be reality that you can never amount to much more than making ends meet at a mediocre level. In order to keep your status you pay exorbitant amounts to live in a ‘nice’ neighborhood, and then have to burn gas to get around and risk foreclosure. That’s all your salary is good for and we must be grateful for that! During lunch I discovered there were two other teachers in the building who had had a foreclosure. And to top it off, students, parents, administrators, the whole world feel disdain towards teachers. After all, “those who can’t do teach.” If teachers want respect, well, they need to just get it.
No one really wants to help. The Union has a book of rules. It says that if a teacher has a complaint and wants to make a grievance about the working conditions, he/she has 30 days to file the grievance after being aware of the condition. So you really can’t wait until it affects you, you must do all this within the first 30 days of school when all hell is loose and teachers have a million things to do. Nice rule. I wonder who it helps. So I have 6 classes instead of 5 and get no planning period, as I should according to the Union rules; but the other rule says I cannot file a grievance after 30 days. So if I was hoping there would be more students coming in up to the head count month in October, so that another teacher could be hired and it didn’t happen, I just have to take it or leave it. So I did what was right. Someone has to. My advice, hire the right amount of teachers. That’s who research says makes the greatest impact on students’ performance. Don’t overload your greatest asset, it will stop being great and the consequence is lower student performance. Student-teacher contact hours shouldbe limited as it is detrimental to teacher’s mental and emotional health. After a few hours without a break it gets unbearable. But who is listening?
Once, after standing up and refusing to click thousands of times to input a grade on a practice being enforced upon the student body on their own time, I was called to conference and asked to submit complaints in a private way. But I thought I had done it the right away, out loud for all to hear. Why should I have to click thousands more time to input a grade for something that is not a subject matter that I teach or a program that I implement with my studetns in class? On top of not having a planning period to call parents, plan for two different types of subject matters and do grading, I have to take on another clicking job. As if my job description was that of data entry clerk. Not only that, they also wanted me to call the parents of studetns who are not getting on. My reply during tht conference was that we were creating a nation of dummies. You should the lack of personal touch in that program. We complain about kids on video games and give them a senseless one to learn to and analyze text? Teachers usually meet behind closed doors to criticize the new mandates heaped upon them and nag, but they’re silent like sheep to the slaughterhouse during faculty and departmental meetings. Protesting and demanding your rights takes courage and self-respect. “Integrity is choosing courage over comfort, choosing what is right over what is easy or fun, and choosing to practice values, rather than just professing them.” Annonymous.
When outsiders want to make an impression in the world for being the good guys and/or want to get the millenial market, they look towards schools. But they never send a teacher to help the studetns learn for more than a couple of hours. The docent visitors come and show off how wonderful they are, teach the theory and never come back. The teacher gets stuck with the rest. Hands-on activities where children make a final product take place in many instances but it is at the expense of teachers who make the extra effort. That was the case with the TV network that donated thousands of assets in equipment to the school but never sent anyone to teach the students how to use it. They only send professionals who show and tell about their acclaimed successes. Again, they’re left with the teacher to do the day to day of doing something.
Passing the dreadful tests becomes a greater challenge for schools and equires that more time is spent in preparation than in doing meaningful activities. State tests change to a more difficult version once a high percent of the low socio-economic population is able to pass them. Imposing the reign of terror and the strategy of keeping people behind, in direct opposition to the No child left behind Act in the state of Florida, is what I have witnessed in these 22 years. Right when students started passing the FCAT and teachers were teaching more again (a danger to the minds of students), and the children were learning more things (another danger to society), the powers-that-be decided it was time to adopt another test, a much more difficult one, the dreaded FSA, one that will prevent the masses from passing it. Therefore, they will not be able to earn a high school diploma or enter colleges.
The last thing the state wants is to have real good teachers who are not willing to take abuse or compromise for a lousy paycheck any longer or have any kind of imagination. The mindlessness or mindfulness of our future generations will be the final product. We are already witnessing lack of sensitivity towards humanity and an absence of compassion in much of the world around us. Take a look at the messages behind the highest paid forms of entertainment available to all, movies? The state wants teachers who are cookie cut to obey orders without taking into consideration what is best for students and teachers and instead want to serve the State and local bureaucracy, not the people. What would you say about a car manufacturer who doesn’t listen to the mechanics on board about what makes the car run better?
The solution is blowing in the wind. For me, it’s time that I stand on my own two feet. Hopefully, there will be more like me, willing to stand up for their beliefs and travel to the other side where all is possible. In this pasture, we are teaching compassion, it starts with loving yourself by doing what you love to do. So far, I’ve submitted to Film Freeway, to the Audience Awards, and have started research for my next new project. My other projects are moving along spreading their wings. More original projects are getting a thrust and I’m able to be in silence, exercise more and take restroom breaks as I please. Monetizing my skills and imagination is just a matter of attracting it with thoughts and actions.
The teacher in me loves having a good time with my students and my goal is to entertain them with stories about the past and future in unsuspected places where anything could be possible, there are no judges and people follow their own lead. I was once apalled when someone said I would always be a teacher. Horrified, I said, “Oh no, there is no hope for little old me.” But then I spread my wings and flew over the coccoo’s nest only to realize he was right, and I will always be a teacher. But now I am a better one, for I am teaching self respect, integrity, imagination, hope, faith, and perseverance by all that I do to get to the mind of my students at large with these wondeful stories of enlightenment. Want to read one? Visit http://amzn.to/2n37oxI and purchase the latest edition of Utopia on Kindle.
Formerly known as “I Am Sojourner Truth” screenplay by Angela Terga and Lateef Calloway.
First the visionary structure. On October of 2016, you saw me fly across the Atlantic to attend Linda Aronson’s non linear script writing master class at Ealing Studios in London. The workshop added confidence to how we, the writers, chose to structure SoTru, the screenplay I’ve been working on since the summer of 2015 with Lateef Calloway, the young independent producer and director whose mission is to bring forth the ultimate icon of feminism and equality through the life and works of Sojourner Truth. The nature and relevance of her teachings are just as pertinent or more today than ever. More than a year later, at the beginning of 2017, Lateef and I plan to meet for several days when we will scrutinize the screenplay, compare it to the Treatment, take notes and then polish the…
Formerly known as “I Am Sojourner Truth” screenplay by Angela Terga and Lateef Calloway.
First the visionary structure. On October of 2016, you saw me fly across the Atlantic to attend Linda Aronson’s non linear script writing master class at Ealing Studios in London. The workshop added confidence to how we, the writers, chose to structure SoTru, the screenplay I’ve been working on since the summer of 2015 with Lateef Calloway, the young independent producer and director whose mission is to bring forth the ultimate icon of feminism and equality through the life and works of Sojourner Truth. The nature and relevance of her teachings are just as pertinent or more today than ever. More than a year later, at the beginning of 2017, Lateef and I plan to meet for several days when we will scrutinize the screenplay, compare it to the Treatment, take notes and then polish the diamond of a well crafted first draft. SoTru, the script, must not only pass the ten page test, it must receive a first class production fund.
During out first meeting in 2015, Lateef and I crafted the structure of the biopic. Starting somewhere near the middle where her life appeared most exciting and then flashing back to her nativity for a tour of enduring heartache and pain with dignity and grace until the end. Once the journey’s vision was set, I proceeded to research, read, write and get into the spirit during my month-long visit to Battle Creek where I stayed at six generation descendant of the historical figure, Thomas McCliechy’s home. Thomas and I talked about “grandma” every day all day when he was around. I would often ask him how he thought Sojourner would want me to write-in this or that occurrence stated in her Narrative’s editions. I can see Thomas’ goatee moving up and down as he’d say, “tell the truth, that’s what she would have said. That’s what she stood for, and that’s why she changed her name to Sojourner Truth.” In honoring that manifesto as a writer, I have encountered many forks on the road of writing SoTru. My greatest endeavor and hope is to show what the avenues present while not inflicting judgment on the path traveled. For truth, in my own definition, lacks judgment. Therefore, exposing the facts should be all one needs to come to a conclusion. For instance, when Sojourner took it upon herself to travel the northeastern countryside instilling prudence and warning the hordes of wretched souls seeking enlightenment against the pitfalls of fanaticism, she exposed the truth before her, not just by her words but because those poor souls saw it and felt it in their hearts. Even the preachers urging them to extremism and delusion agreed with her common sensical arguments and so will audiences worldwide when they see and hear her coming to life on the screen. Is it not relevant today to warn our brothers and sisters of the perils of dogma?
The Writer’s responsibility. Besides sticking to the telling (showing) of the truth and nothing but the truth, so help us God, writers of figures such as Sojourner Truth have the delicate task of transforming historical speeches and events into everyday life AND keep you at the edge of your seat every minute of film’s hour. I can just hear the critics say, “we were on the edge of our seats every step of SoTru’s way,” instead of “the dialogue was ridden with
self-importance.” Critiques apart, being able to convey feeling to the general public is the writer’s purest aspiration. Will the audience cry and laugh and wonder and sing along and fear and cheer with our dearest hero? Only then, will our soul rest. How do we best bring a character to life in the public’s heart and eye, for present and future generations? That’s our quest and you’re the judge of our success. So delicate a matter it is that we must exercise the most caution and care in the construction of every scene for no one set is irrelevant.
Words such as conflict, suspense, intrigue, fear, elation, sorrow, despair, grief, pain, sickness, delusion, courage, inspiration, revelation, endurance, hope, love, forgiveness, desire, determination, agitation, declaration, mobility, encouragement, count among some of the exciting circumstances surrounding the life of one of the most dynamic inspirational lecturers of all times on topics such as freedom and equality, Sojourner Truth. Her legacy is in our hands to inspire new generations to achieve a higher standing in the world through education and organization. In her own words, “agitate, agitate and get in the mix while it’s still stirring.” A legend in her own time, SoTru brings us a breath of fresh air in the form of hope and accomplishment while entertaining us with our hero’s wit and song. So keep in mind the title “SoTru” soon to hit the box.
Relevance and Purpose. What makes this film relevant today is not just that talent shines no matter what and God has always and will always use some of us to create great waves of change, nor that this woman born Isabella Baumfree accomplished almost all her goals by mere faith and determination, self-reliance instead of fear using common sense, nor that she attained Buddhahood. What makes this film relevant today is that she showed us how we must find a way to love even our enemies so we can see truth for it is “on the shoulders of the black man that the civilization of the white man rests.” I interpret this statement to mean that the black man civilizes the white. But what civilization is has different meaning to different people. To me it means the evolution of the species. Evolving means peace, harmony, prosperity, health, water, resources, knowledge, justice, fairness, brotherhood, tolerance in the world towards one another.
SoTru was the first to win a court battle against a powerful white man and get her son out of slavery in the deep south. Nonetheless, she lost him to the festered social arena and mass incarceration of black youth in the city of New York soon after slaves were freed in 1828. In response, she changed her name and filled her heart with love, vowing to profess Truth on her Sojourn. Thereafter referring to herself as Sojourner Truth, councillor to her people and advisor to Presidents, pressing the issue of women’s rights, equal pay for equal work, equal education and penal reform. The same voices are being heard today across the world. Join us in acclaiming justice and equality from sea to shining sea. SoTru.
The Association of Education and Industry was the commune that she referred to as being truly egalitarian.
About a year ago I approached an independent producer on Facebook, the talented, Lateef Calloway, when he announced his intention of producing a biopic about America’s first black woman to gain notoriety, the dynamic preacher, abolitionist and feminist activist, Sojourner Truth, author of the Narrative of Sojourner Truth a Northern Slave (1797-1883). Embarking in such a high profile project as a writer seemed a breakthrough opportunity in all respects. When the producer and I agreed on the terms I had already started to gain knowledge about the polemic African American Sibyl. And what we envisioned during our planning time together was a biopic that would cover her entire life in a non-linear way.
The first thing I did was read the “Narrative of Sojourner Truth” a few times to get to know her intimately. Having been denied the right to learn to read and write didn’t stop Sojourner from being an author. That’s just the way she was, a woman of ‘no excuses.’ So Olive Gilbert, her fellow Association of Education and Industry member and friend, was her amanuensis. Gilbert’s voice tells us what she heard from Sojourner, as she saw it, in her own socio-political and historical perspective. But through and through we see the determination of a woman to make a difference no matter what the situation of her life was. She was someone who always did the right thing and attracted high profile characters of the times to herself, or people who would help her on her quest. But she also met a lot of opposition.
Isabella, Sojourner’s given name at birth, wanted freedom, but not at the expense of leaving behind her little ones, and when she walked away from bondage she remained but a day’s walk away. How rapacious did John Dumont seem when he demanded $5 for the rental of the child Sophia, not yet old enough to work and $20 for Isabella after she had earned him $2000 on a bet where her strength and endurance were the only things of value! How much more moral standing did Isabella have over him as a human being! Why would she be the best worker on the land if it didn’t belong to her, and she was just enslaved labor deprived of identity? Amour-propre, the satisfaction of being the best you can be, the spirit of the overcomer, the power of self-discipline, putting her all into the present. Sounds like an Ekhart Tolle tape.
There was one thing they couldn’t take from her and that was her dignity, her self-worth, her true self. That’s why Sally hated her and John Dumont admired her. Sally found a way to hurt her where she knew it would hurt the most, by selling her son away. But that was just the challenge for Sojourner’s newly acquired faith and relationship with Jesus. And she got her son back. I can see Sally’s disappointment and bitterness when she heard the news.
But that was just the beginning. The newly-discovered self spreads its wings and takes flight as the inborn Christ saving the lost souls of the Five Corners along with philanthropist of the Wesleyan Methodist Perfectionist Society, teaching temperance first, and later embracing a false idol in the Kingdom of Matthias where the same perfectionists pointed their guilty fingers at the most vulnerable when the kingdom came into scrutiny by the State of New York. Absolved by the Grand Jurors of any wrong doing and compensated for the injurious unfounded claim on her character, an awakened soul sets forth to fulfill its social reform mission as Sojourner Truth, an advocate of righteousness throughout the land, never again adhering to any one sect or religion but using her own discernment to interpret the scriptures. First as a child and later as Sojourner, speaking directly with God was a gift she put to good use to the end.
So, although she relocated to Harmonia, a Spiritualist community, with friends from New York and the Association, and she participated in séances, these only made her more aware of the spiritual guides surrounding her, like her father, with whom she had a special connection in life. “Religion is empty,” she said, “why build monumental churches when the poor and old aren’t ministered to,” she’d argue.
In her days, she witnessed the mass incarceration of black men in America, the institutionalization of the welfare system in response to inadequate integration plans, or rather lack of integration plans for the freedmen, as well as the great Exodust of the 1790s, which she prophesied would happen if measures weren’t taken to settle the freedmen in the vast expanses of land in the west.
If I could choose one word that contains the essence of her legacy, I would choose, in the words of Sojourner Truth: “agitate, agitate.” And my favorite Sojourner Truth quote is “If women want rights, more than they got, why don’t they just take them instead of talking about it?’
How does this translate today? Well for beginners, I’m writing a biopic, and I have never done so, I am not a Hollywood writer, I am not African American, I am not a graduate of Julliard school, or UCLA, neither does my uncle, cousin, dad, or aunt have any Hollywood connections. I spent twenty years teaching school and I got tired of living the adage, “those who can’t do, teach.”
I don’t care what people think. I am writing the biopic of Sojourner Truth as an independent writer, for an independent producer, and I intend to do a very good job. Not only do I practice what I have already learned about writing a screenplay but I must keep seeking knowledge and testing my skills.
It’s been a high peak learning curve. An MFA in CW only got me started on the path of writing. I have written and rewritten a novel, about 6 screenplays, produced a -50-minute film and a short (my first), and I have no more funds to produce. So now what? Start with the end in mind. Find distribution, tie the scripts to famous actors, network, submit to festivals and contests, pitch where and when possible. But most of all, keep writing, keep improving those editing and production skills by planning and analyzing your own and others’ works. So the learning never stops. And when I wonder if this is in vain, I say to myself, in vain is not doing. “I am Sojourner Truth.”
Talking about learning through the work of others, I recently had the pleasure of pitching to one of the rudest panels I have pitched to in my short pitching career (If you can make a career of pitching). It was at the 2016 MFMM at CAMACOL in Miami. Why rude? Well, Miss Karen Hall, with all her Emmies and Humanitas, a prolific writer of popular TV shows, felt I was angry at her on my pitch. I think that one has to feel angry in order to perceive angers from others. It is not my problem but hers. She should check her anger meter before it gets out of whack. Why would anyone be angry after receiving all those accolades? I was just being dramatic and very succinct. But I thought I would get questions like, “Oh, what is the ecotomb, and how does the protagonist wreak havoc?” Instead, I got what I interpreted as “you don’t know what the hell you’re talking about, I’m the writer and I’m telling you, that’s not how you do it.” Well, too bad for you, Ms. Hall, if you can’t come down from your pedestal and learn to listen to us mortals. Somebody will. My pitch was “Survivors of the Holocaust of Humanity sit around the lar and tell the story of Taharai, a venous hrybrid who wreaked havoc in the cities of the modern world before the Ecotomb.” That was my chosen elevator pitch. I was going to pitch another but I decided to be loyal to my first project. (It was a great personal pleasure to work with actors and crew).
In my metaphysical studies I’ve learned that what you see in others is what you are feeling yourself. You see the world as you are. Where you see anger you have anger. Where you see love you are love. Where you see pain you feel pain. That is my response to those like Ms. Karen Hall. I’m afraid of her now that I know she sees the world through angry eyes. I was just being dramatic. Was anyone on the panel interested in content, or were they there only to warn wannabe writers and producers, one, that TV writing and being a showrunner is too hard; two, that people should respect those who are doing this very difficult job; and, three, that you must move to Hollywood/L.A. so that through a friend that has a friend that “happens” to know one, after you “happen” to land the manuscript on his/her happenstance’ lap, you might “happen” to be lucky and land an agent. Frustrated? Naw… Discouraged? Naww…
Then, during the ABFF week, I had the more pleasant experience of listening to two great panels during ABFF week. The first was hosted by HBO’s 26-year veteran Bruce Richmond who spoke about hybrid television, a great topic, too much to go into now, among other things. But basically, he sold HBO’s product and productivity, gave us a really good HBO pitch. He showed us how the west was won, basically. All the tricks involved in the making of a TV series such as Game of Thrones, the most popular TV show on the IMDB chart in 2016. Bruce and Gena (Gena Desclor), let the audience know early on in the 3hr (so called) workshop, that anyone trying to submit should contact the creative department and specifically, Kelley Edwards. So I bet she must have had a hot earlobe that night.
Finally, this Father’s Day, I got to meet two young ladies making a difference on diversity TV right now. Karen Horne SVP of Programming & Talent Development & Inclusion for NBC Entertainment who was more positive and advised the writers to submit through the workshops and fellowships that stations already have in place. But she also recommended moving to L.A. and didn’t offer any tips on how to get an agent, other than writing a spec script that’s good enough to be noticed. The second speaker was Courtney Kemp Agboh, the creator and writer of Power, who seconded what Horne had already signaled out. But Kemp went as far as saying that you have to be willing to go lower than getting lunches, whatever it takes to get into the writer’s room, for she got to where she’s at by going through the ropes. Even what you wear and how nice you are, of course, is of the utmost importance. But don’t forget you have to be the best writer there to be noticed.
One element all writing workshops I attended had in common was that they promote, support, and stick to the traditional format of one hero on a quest obstructed by a villain and in the end changed by the choices and circumstances of his chosen journey, lots of violence, some sex and some big theme. I think for Brother the theme is the same as for Breaking Bad: “Does the end justify the means?” Can someone kill and not commit a crime? It is more like getting even with society and in the end making it all look good by having a legit business like a club. It’s kind of Scarfacish to me, redundant, except this is an African American protagonist.
Going back to the initial goal of this blog, the problem with writing a biopic such as “I am Sojourner Truth” is that there usually isn’t enough dramatic action in a famous person’s life for it to be a captivating story. The famous person’s life may have had a lot of ups and downs, but lacks the level of dramatic curve seen in these digitized dramas.
For starters, you must decide whether you are writing about something in the life of your hero or about the life of your hero. In other words, instead of ambitiously covering her entire life, should I focus only on the incredible feat of getting her son back from an evil and brute creep down south using the law in a courtroom? In this case, the villain was Sally, the mistress who wanted Isabella to hurt because she could never have her soul. However, Isabella had the fire of the inborn Christ presence in her and cast away all evils.
At every step of the way, Sojourner faces an antihero. In Matthias Kingdom it was the hypocrite Ann Folger who would get into Isabella’s bed at night, when the men were away, to show her how he (Matthias) made love to her (Mrs. Helen Folger), and when under suspicion, point a guilt-ridden dirty finger at Isabella using her as the scapegoat of the Perfectionist Society. Isabella, the lower class member, was the easiest target they could use as a shield. But the burning presence of the Holy Spirit remained a constant in Isabella’s life and this truth she breathed manifested. Isabella was not only absolved of any injurious culpability, but she also received restitution for damages and injury to her character. Way to go, Bell!
In another instance, it was the opposition of the rebels that she must confront in order to make her freedom of speech count. And she sure showed them, she did! Following that it was the conductors of the DC trolleys that she had to take on in order to get to ride and do away with the Jim Crow car. Not once but twice pressing charges against them. She was a legalist.
Furthermore, it was the freedmen themselves whom she must contradict for “their own good;” and it was the indifference of the administrations during Reconstruction to relocate the freedmen as enfranchised citizens instead of institutionalizing the undignified welfare system that she fought to the end. These were her nemesis, along with trying to exercise her right to vote by showing up at precincts. She believed in taking what was rightfully hers.
How far would you go to get your own rights? She went as far as no one had before her, farther that she ever thought she could. “I am Sojourner Truth.” Her legacy is the spirit of the overcomer, of no excuses, whether Black, slave or woman. Not enough drama? We’ll see how well I can create a villain and a curve in every one of the five acts. Why five acts? That’s how you break it up for television, and although this is a movie for the big a well as all the screens, it makes sense to use the five act strategy with so much material to cover, like Shakespeare did with his dramas.
Is Gone Girl creator Gillian Flynn the epitome of feminism? The author could be just as well a mysogynist as a feminist. Whether hero worshiper or chauvinist lesbian, that you can’t put your finger on it is what the Northwestern University Master and former Newsweek reporter’s genius is, and genius needs not explain itself; It is recognized by its versatility. Would Ben Affleck have been more convincing in his good guy role by playing suspiciously? How well did he play the innocent? How many clues of being the opposite did he offer? Did he play being the bad guy in such an inconspicuous way that he had the audience fooled believing he was actually bad? Watch the movie and decide for yourself. Was Rosamund Pike’s portrayal of the Antiheroine heroic?
I appreciate your visit to my Blog and would love exchange views on this topic. Thank you.
Spyderwoman Premiered March 23, 2014 at Cinema Paradiso in Ft. Lauderdale.
Thank you for coming out and supporting our movie. We had a good turn out. We want your feedback, so we took a survey of the viewers’ opinions on picture quality, acting, sound, and plot.
Of course, as expected, our cast members and crew would give us the best ratings out of love and ownership; but, as a producer, my role is to bring you the best. In the aim to improve, I plan to take the constructive criticism received very seriously and share the results with fellow filmmakers.
The results show that we scored the lowest on sound and plot. The acting was credible, for the best part, and lighting was fairly good. Picture quality was excellent. I did hear from a good source, that our production quality was EXCELLENT, too.
So, what’s wrong with the sound? I leave that to the experts; will have to contact Dario, the sound guy from Biscayne. He will give me a diagnosis. That said; let’s look at the plot.
If you know anything about Spyderwoman the Movie, now Hybrid the TV Show, you will notice that it is based on a book that I wrote, as of yet unpublished, “Spiderwoman, An Amazon Legend.” All books differ from their movie counterparts and this is no exception. Something is lost and something is gained with each transformation.
From a novel -to a First Draft -to a Student Film- to a SAG Short –to an Ultra Low Feature -to the TV Show Pilot
Every transformation has driven the plot in a slightly different direction due to circumstances with actors and locations. For example, we brought a second Hybrid character onboard after we realized that our first hybrid may not be able, or willing, to continue the shoot. Already, we had created another hybrid by giving the FBI agent, Erika, a pair of very shiny eyes and a relationship to the doctor. This is not in the book; the book is really just about ONE hybrid from the Amazon who finds herself stranded, surviving in the cold winter nights of Chicago. She gets rescued, and makes it to Florida, but not before making some noise, both as a cannibalistic human in Chicago, and then as a green peace terrorist, urged on by Anna, a woman with a twisted mission. In the transformation into a movie script, the first change made was to make the FBI agent, Erika, a hybrid as well, although a subdued one, since she has been under scientific supervision from an early age.
The third hybrid, an unnamed, as of yet, female, follows her would be sister’s footsteps and escapes from the lab to cannibalize yet more homeless victims sleeping on the streets of Miami. There are now two hybrid females loose, on the streets of the magic city.
As a writer, who also produced and directed with Ronny Cush, who also co-wrote the first script with me, and served as cinematographer and director of photography, I realized the importance of being flexible. Instead of putting my foot down and saying “no we are going to have just one hybrid, and that’s going to be the same one we started out with.” And had that not been possible, we would have had to make the movie all over with a new lead actor. Decisions have to be made on a set, when people don’t show up, or don’t have the experience. We also don’t have a lot of experience as filmmakers. We did the best we could each time, and the final product has a lot to offer.
If you read this, please write to email@example.com, letting me now what your opinion is. I would appreciate it. What would yu have done in my shoes, and why?
To conclude, we did have an exciting Premiere and red carpet show. Our first show sold out, but the second one was not at all what I expected, or wanted. A lot more road breaking needs to be made before we become well known as a TV show and are able to fill the theatre with new faces in our next Premiere.
What’s more important, will we fill your cyber space for an hour every week? I say, yes, we will. Where there is a will there is a way. But let this be the will of God.