Tag Archives: media writing

Adapting Screenplays: Blade Runner

As part of English 408A, Media Writing at the University of Waterloo, I have been doing some extra reading regarding screenwriting. While movies are clearly a visual art, where they excel is clearly in the narrative performance. Due to the compressed length, a screenplay is far shorter, and thus the narrative must be compressed. This is one of the reason why many movie adaptations are so very different from the original novel. Complex subplots which stray from the main plot are cut loose, perhaps replaced with shorter subplots which provide a quicker payback.

I’ve occasionally wondered exactly why it is that the short stories of Philip K. Dick are so frequently adapted by Hollywood. Blade Runner, starring Harrison Ford is a prime example, and is also a film classic. There are a number of themes from the novel which were dropped from the film. The most obvious of which is Mercerism, and the empathy boxes. The shared artificial reality, designed to allow users to share pain in a spiritual manner, can be read as a critique of our modern media culture. There’s also an interesting parallel to the video screens in Fahrenheit 451. Dick was critical of modern media, in a way that wouldn’t necessarily carry over into a commercial film.

Sadly, this and several other themes are left out of the film. In the case of Blade Runner, I think these changes were justified. Film emphasizes the visual, and while I believe that Philip K. Dick was an exceptionally visual writer, many of the themes in Do Androids Dream of Electric Sheep just wouldn’t translate well into film. Where in a novel, the author can show the thoughts of the protagonist, where in film, this can only be achieved artificially, such as through a narrative voice over.

By trimming down these themes, Ridley Scott was able to emphasize those that remained, and to emphasize the new form of visuals. The world of Blade Runner is very different from that of the original novel. Where Dick’s world was a post-nuclear wasteland, depopulated through emigration, the world shown in the film is a dark, densely populated melting pot of American and asian cultures. This visual style later came to embody the cyberpunk aesthetics.

It’s interesting to consider some of the other adaptations of Dick’s work, especially those from short stories. Where in Do Androids Dream of Electric Sheep? themes were removed from the screenplay, when adapting his short stories, the stories are fleshed out. Not every adaptation remains true to even the core plot of Dick’s original story. Often, the main elements which remain include the name, those of the major characters, and the key plot point of the story. Others, like the Minority Report, follow the path of Blade Runner, weaving together many of the strands of the original narrative, keeping “mostly true” to the original tale, which in some ways, becomes a minority report of its own.

Write For Your Audience

There are many ways in which communication fails. Very often, this is because the writer (or speaker) forgets to take the audience into account. This is becoming increasingly clear in English 408A, the course on Media Writing that I’m taking this term. The current chapter we’re discussing is Copywriting and Advertising.

Batty and Cain have a lot to say about this, but the most important part of writing effective copy is to “always put the reader first” (p 159). I’ve attended lectures and presentations where the speaker is often from business management, speaking to technical developers, where much of the message is lost because they’re using the specific jargon of the business environment. Those of us in the audience spend our time trying to figure out what euphemisms like business process excellence, and synergy really mean, rather than trying to follow the speaker’s line of thought.

While Batty and Cain are talking about writing copy that sells products, the same theories apply to speeches where you want to influence others. I read a great blog post by John Jantsch, founder of Duct Tape Marketing, which suggests that great leadership has a strong storytelling component.

This is also one of the key points of Garr Reynolds, author of Presentation Zen. With a great story narrative, a speaker can weave together the elements that would have been dropped into technical bullet points. They will be more memorable if related with a good story.

Formulas For Writing

I’m really enjoying my Media Writing course this term at the University of Waterloo. Every week, we have a different writing assignment, and so far, they’ve been quite varied.

Week one was an obituary. Morbid perhaps, but as the format is extremely well defined, it was a good introduction to writing for the media. We have since written newspaper feature articles, magazine feature articles, broadcast journalism, and the current assignment is writing some public relations material.

Part of the challenge in this course is applying writing skills to a particular format. Each week’s assignment tends to take a different approach. It’s a combination of changing audience, and purpose. The expectations of the different formats require a much more comprehensive approach to writing. It’s far different from creative or essay based writing which I’m familiar with. Its also really quite enjoyable. While I don’t see myself joining the dead beat (obituary writing), all of the other formats I’ve been writing in have opened new possibilities for writing, which I’ve never seriously considered before now.

While at the Ad Astra science fiction conference in past years, I’ve often attended the various sessions on writing groups, and breaking in to the fiction market. Many of the writers on these panels have advocated freelance writing of one sort or another. It’s something to keep the mind focused on writing, and keeps the skills finely honed.

Which is all well and good, if I wasn’t swimming in essays at the moment. The only non-coursework writing I’ve been able to manage the past few weeks has been my daily blog posts. I’m not quite ready to give up on them yet.

Weekend Reading and Gardening

I haven’t had nearly as much time to read as I would like to this weekend.

I finally finished up the last chapter of Harperland, so I could return it to the library. Again, if you’re interested in politics, you really should give it a shot. I’ve primarily been focusing on my course readings. I’ve been giving chapter 7 “Phaeacia’s Halls and Gardens” in The Odyssey a close reading, in particular the hospitality scene as Odysseus becomes a guest of the mythic Phaeacians. There’s a lot going on in this scene, but I won’t be posting it right now, as I plan to write an essay on this chapter. I’m continually amazed by how layered this book is, and in particular the non-linear plot progression.

I’ve also been reading more of Batty and Cain’s Media Writing, particularly the chapter on magazine writing. It’s brought to mind some of the techniques used in some of the magazines I’ve picked up recently. Magazines have a much longer lead time than newspaper writing, which is certainly exhibited in Volume 22 number 1. Anuual 2011 issue of Canadian Gardening. The article “Seasons of Love” written by Yvonne Cunnington clearly shows the long term nature of some of these articles. The author of this article shows how landscapes and gardens can be planted in order to best suit the varying seasons. Along with the text, photographs (taken by Donna Griffith) show several locations through the four seasons, so the choice of plants can be seen through the seasons, providing interest year round. It’s an effective article, especially for publication during the winter months. As I look to my snowy backyard, then back to the pages of the magazine, I can’t help but draw some bleak conclusions. These gardeners spend a lot more time and effort on their gardens than I do.

 

Holiday Books

Books I received over the holidays include include:

  • Steampunk Prime: A Vintage Steampunk Reader. Edited by Mike Ashley
  • The Odyssey, by Homer, translated by Robert Fagles
  • Media Writing: A Practical Introduction by Craig Batty and Sandra Cain
  • After Theory by Terry Eagleton
  • Convergence Culture: Where Old and New Media Collide by Henry Jenkins
  • Steampunk II: Steampunk Reloaded edited by Ann and Jeff VanderMeer

I’m really looking forward to the Steampunk books, especially the anthology put together by the VanderMeers. My copy of their previous steampunk anthology is well worn, and has a lovely hand-drawn zeppelin drawn by Ann at the 2010 Montreal WorldCon.

The Media writing and Convergence Culture texts are for a course I’ll be taking in January on writing for the media. The course sounds interesting, and the regular written exercises should be good practice, thinking about writing in a different fashion.

Previous to Christmas, I picked up a few other books:

  • Necronomicon: The Best Weird Tales of H.P. Lovecraft, edited by Stephen Jones
  • Guns, Germs, and Steel by Jared Diamond
  • Welcome to the Desert of the Real by Slavoj Zizek
  • Mythologies by Barthes
  • Empire of Signs by Barthes
  • How We Became Posthuman, by N. Katherine Hayles
  • Terminal Identity: the Virtual Subject in Postmodern Science Fiction by Scott Bukatman
  • Jean Baudrillard: Selected Writings, edited by Mark Poster
  • Dreadnought by Cherie Priest
  • Nothing Rhymes With Orange: Perfect Words for Poets, Songwriters, and Rhymers, by Bessie G. Redfield and Hope Vestergaard
  • The Windup Girl, by Paolo Bacigalupi
  • Retribution Falls, by Chris Wooding

I’ve finished Dreadnought already, which is a brilliant sequel to Boneshaker. It’s a stronger novel than the first, and has a much cleaner narration. To be reviewed shortly.

The Necronomicon is a wonderful black faux-leather trade paperback. I’ve not previously read much of Lovecraft. From the few short stories I’ve managed out if this text so far, his writing drips atmosphere, although the serial nature of many of his longer stories adds a great deal of repetition.