Time Traveler – Review and Approach
Just finished reading the script and here are my thoughts:
I liked many parts of the script especially during the middle sections exploring the relationships between Doc, Gena, and Scott. It was very interesting watching them try to figure out the situation of where each of them were coming from and what it was that they wanted.
The main challenge in converting this script to the stage is the quantity of scenelets you have. In most stage plays there is a maximum of 10 scenes in an act and usually no less than 4 fleshed out destinations It would be useful to pinpoint what information is important and what is not and also pinpoint what information can be delivered during another scene. If you are tied to keeping all of the scenelets a good example of a show that had many destinations and characters and still did well on Broadway is the show 39 Steps if you wanted to keep the same amount of scenes I would suggest checking it out.
Another thing is that this is a very ambitious script with many characters and subplots and I worried sometimes that it was unclear as to what was going on or who some characters even were. On stage we don't have the aid of forcing the audience's perspective by using the camera and have to rely more on language and a character's actions rather than the action happening in the world around them. I found myself many times having to reread sections trying to figure out the context for some of the more peripheral characters.
With problems like this I cannot myself rewrite the script as it would pretty much leave it a rag tag of what you originally wrote and my goal is to help you tell your story. I like the message you are conveying about how we are dealing with the same problems now as we were in the past and how it is good to help one another, but I like it because it is coming from your voice.
This script is definitely going to be a challenge to directly change into a stage script and there are several different options we/you can take:
I. I can format the script with the standard play formatting and leave all the current story elements in and explaining what it is that I have changed and why I have changed it so you can use those rules in the future if you choose to further edit the script.
II. We can work together on a draft by draft basis with me consulting and coaching you on stage play structure using your play to (This can be done on Skype if needed).
III. You can tell me to bugger off. Which I totally understand. This is a very big undertaking.
I know this might not be what you had in mind when you sent me that request but it is the only way I think that I can really help you tell your story and I want to leave you with a greater ability to write your stories after our work is over.
-Josh
Just finished reading the script and here are my thoughts:
I liked many parts of the script especially during the middle sections exploring the relationships between Doc, Gena, and Scott. It was very interesting watching them try to figure out the situation of where each of them were coming from and what it was that they wanted.
The main challenge in converting this script to the stage is the quantity of scenelets you have. In most stage plays there is a maximum of 10 scenes in an act and usually no less than 4 fleshed out destinations It would be useful to pinpoint what information is important and what is not and also pinpoint what information can be delivered during another scene. If you are tied to keeping all of the scenelets a good example of a show that had many destinations and characters and still did well on Broadway is the show 39 Steps if you wanted to keep the same amount of scenes I would suggest checking it out.
Another thing is that this is a very ambitious script with many characters and subplots and I worried sometimes that it was unclear as to what was going on or who some characters even were. On stage we don't have the aid of forcing the audience's perspective by using the camera and have to rely more on language and a character's actions rather than the action happening in the world around them. I found myself many times having to reread sections trying to figure out the context for some of the more peripheral characters.
With problems like this I cannot myself rewrite the script as it would pretty much leave it a rag tag of what you originally wrote and my goal is to help you tell your story. I like the message you are conveying about how we are dealing with the same problems now as we were in the past and how it is good to help one another, but I like it because it is coming from your voice.
This script is definitely going to be a challenge to directly change into a stage script and there are several different options we/you can take:
I. I can format the script with the standard play formatting and leave all the current story elements in and explaining what it is that I have changed and why I have changed it so you can use those rules in the future if you choose to further edit the script.
II. We can work together on a draft by draft basis with me consulting and coaching you on stage play structure using your play to (This can be done on Skype if needed).
III. You can tell me to bugger off. Which I totally understand. This is a very big undertaking.
I know this might not be what you had in mind when you sent me that request but it is the only way I think that I can really help you tell your story and I want to leave you with a greater ability to write your stories after our work is over.
-Josh