In this case, the story I'm telling is about a young woman who has just bought a house with her long-term boyfriend, but then meets a stranger on the bus and sleeps with him. Only to discover, a few weeks later, that she is pregnant. She decides to keep the baby, but pretends it is her boyfriend's. She sets about hiding the dilemma even from herself. But it doesn't work. In the end she has to make a choice and be honest about what she's done. The situation is made more complicated by the fact that her secret lover is an immigrant from Iran. So there's a very subtle comment running underneath on how difficult it is to integrate in the Netherlands.
The script is based on a short story by an Iranian/Dutch author called Kader Abdolah.
What I think happens when I get to the resolution is that, because I haven't worked things out properly yet (despite two treatments and two draft of the script), I tend towards 'exterior' solutions; such as scenes where she finally tells her boyfriend, rather than staying with her internal journey. In my next draft I'm planning to stay entirely on her decision making process as the film comes to close and not even play the revelation. This will force me to look at how to put her feelings across on screen, rather than finding 'plotty' solutions. It may well be that, later, the revelation will come back in, but in more subtle form. We'll see...
I'm curious how this is all going to work out when I start on the second draft of my novel. I can already spot the same kind of problems in my first draft. I suspect the need to plan successfully is even more important when dealing with prose. A film script has to tell a story successfully, but language wise, it is a lot less complicated. Especially if, like me, you use minimal dialogue. If I decide when I'm directing that I want to tell my story differently, I can change that in my approach on set. Or even in the edit. The process is very fluid. I am writing a story that I must be confident in, as a director, that actors must be able to understand and identify with, and that will convince funders to back the film.
Writing my novel, I can imagine that if I decide to go from third person to first person for my second draft, then conclude I was wrong, the writing work involved in putting it right is going to be collosal.
Thank you for your post. It's very informative for writers. I start work on my new book. It will be about Cultural Communication, but I have no idea about the title. You can check it on http://community.southernstandard.com/blogs/detail/49960/.
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