시나리오 대사 쓰는 법: 서브텍스트와 괄호 지시문
직설적인 대사가 아니라 서브텍스트가 있는 시나리오 대사 쓰는 법. 캐릭터 큐, 괄호 지시문, 구별되는 목소리, 그리고 The Night Ferry의 실제 고쳐 쓰기.
이 강의에서 배울 내용
- 캐릭터 큐, 대사, 괄호 지시문이 함께 작동하는 방식
- ScreenWeaver가 기존 인물을 제안하고 인물과 대사 사이를 전환하는 방식
- 괄호 지시문이 도움이 될 때와 너무 많으면 해가 되는 이유
- 직설적인 대사 대신 서브텍스트를 쓰는 법
- 대사를 덜어 내고, 짧게 유지하고, 인물마다 구별되는 목소리를 주는 법
- 장면 전환과 샷 요소를 쓸 때
이 강의는 함께 움직이는 세 가지 요소, 즉 캐릭터 큐, 대사, 그리고 때때로 괄호 지시문을 바탕으로 시나리오 대사 쓰는 법을 다룹니다. ScreenWeaver가 입력하는 동안 기존 인물을 제안하고, 그 자리에서 새 인물을 만들고, Enter 키로 인물과 대사 사이를 오가는 방식을 봅니다.
그다음은 기술입니다. 괄호 지시문을 드물게 써야 하는 이유, 두 인물이 시간을 두고 다투는 것처럼 보일 때 서브텍스트가 작동하는 방식, 그리고 The Night Ferry의 직설적인 고백이 행동 하나와 두 단어 "안녕, 아빠"로 고쳐 쓰이는 과정. 덜 말하고, 대사를 짧게 유지하고, 소리 내어 읽고, 인물마다 구별되는 목소리를 주는 법을 배웁니다. 강의는 둘 다 아껴 써야 하는 장면 전환과 샷 요소, 그리고 인물 하나에 이름 하나라는 원칙으로 마무리됩니다.
전체 스크립트
영어 내레이션의 스크립트입니다.
0:04Now the voices. Dialogue in a screenplay is made of three elements that always travel together. The character cue, the dialogue, and sometimes a parenthetical.
0:15Choose character in the toolbar and type the name. Maya. While you type, Screenweaver suggests the characters that already exist. If the name is new, the list offers to create it. Confirm, and Maya is added to your characters. Press Enter, and the editor switches to dialogue on its own.
0:37Type her line. Wait, please. I need to cross tonight. Press Enter at the end of a line of dialogue, and the editor switches back to character, ready for the answer. Elias. No passengers after midnight. Back and forth, like a conversation.
0:56Now the parenthetical. A short note in brackets under the name on how a line is said, or what the character does while saying it. Elias. Sighing. Get in. Don't touch anything. Use them rarely. If every line has a parenthetical, none of them matters. Let the words and the actions carry the tone.
1:19What makes dialogue good? Subtext. People rarely say what they mean. Listen to this exchange. It's two minutes past. That's after midnight. On the surface, they're arguing about the time. Underneath, he's lonely and stubborn, and she's desperate. We understand both without anyone saying it.
1:42Let's rewrite an on -the -nose line. First draft. Maya. I'm your daughter, and I came back because I miss you, and I'm sorry I left. Everything is said, so nothing is felt. The rewrite? Right? She doesn't answer. She sets the compass on the dashboard next to his. Then, only when he says her name, Hi, Dad. Two words do what the long line couldn't, because the audience gets there first.
2:12A good test for any scene. Could the characters say less? Cut every line you can, then put back only the ones the scene can't live without. He'll be surprised how often silence, a look, or an object does the work better.
2:28Keep lines short. Real people speak in fragments. Interrupt each other, and avoid the question. Read every line out loud. If it sounds like a sentence from a book, cut it in half.
2:41And make every character sound different. Elias speaks in short, closed sentences. Long enough. Not tonight. Come on. Maya speaks in questions and half answers. If you cover the names and can still tell who's speaking, your dialogue is working.
3:00Two more elements to use sparingly. Transitions, like fade in, cut to, or fade out, mark the passage between scenes. Modern scripts use very few. A fade in at the start, a fade out at the end. And the shot element, to call out a specific angle, like a close -up on the compass, only when the story depends on it.
3:22One last rule. The same is for places. Write each name exactly the same way, every time. Maya is always Maya. A different spelling creates a different character, and later, a different face on screen.
3:37Your exercise. Write the dialogue of your first scene. Short lines, one parenthetical at most, and at least one exchange with subtext. Next, we'll put it all together. Keyboard only.