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(1) Shouts of joy. Toasts and clinks permeated the air. Loudly music blasted away. Every once in a while a crash of a glass could be heard. And amidst all this, Victor found himself being dragged by his first cousin once removed across the patio.  Their destination? The dance floor. Tere a group of boys and young men were dancing the night away.  Victor had been to weddings before, but none that would compare to this. Victor and his family are messianic Jews. They used to be conservative, but his father and mother had an encounter with the Yeshua during one stormy winter day. After that, they changed their religion. Victor being so young was naturally being taught according to his parent's beliefs.  The rest of their families remained conservative with some far-removed branches that were orthodox. So while Victor most certainly had been exposed to some exuberant joyous celebrating in the past, this wedding was something else. It was a Hasidic wedding. His first cousin once removed, Reina, was getting married to a Hasidic jew named Ari. Uncommon it was for a Hasidic to marry a non-hasidic. Not unheard of, but uncommon. Considering the strict rules Hasidics follow, the wedding was carried out according to their laws.  Some of the customs were just plain weird to Victor. Even the dancing was a bit unusual but sublime.  There was a special presence though, exuberant joy Victor had never felt before. And peace. Victor was enjoying himself like never before. This was by far the best wedding he had ever attended. And it was about to get even better.  Victor and about 12 other young men were circle-dancing and enjoying themselves when out of the blue a second group approached them. A puzzled look appeared on Victor’s face. Noticing his confusion, his cousin told him a dance battle was to take place.  ‘A dance battle?’ Victor wondered. Standing there a bit sheepish, Victor then took a step back with the rest while one youngster remained in the circle. He was joined by another from the opposite group. And the battle began.  Victor thought things couldn’t get even more crazy, but these two guys sure knew how to dance. And they were good at acrobatics too.  Things turned wild and Victor was swept away by the euphorics. One by one others joined the two until the two groups joined and danced for the rest of the night.  _________________________________________________________________________ Well into the night the wedding continued. Victor and his family retired around 2 a.m. Way past the hour they usually left. But, as his father admitted, even he was taken over more than usual. In the morning they joined the bride’s extended family for breakfast. Since they traveled far, they were provided with lodgings at the nearby hotel. There the bride’s and groom's immediate families also slept. Slowly they entered the dining room and took their seats. After the standard hamotzi prayer, they all dug in.  Despite none of them receiving proper rest, the joy from the wedding had not died off. Everyone was loud, and exuberant as they could be. It both puzzled and ticked off the oung Victor who was feeling cranky from the lack of sleep. After breakfast, they all headed to the synagogue. While Victor did not usually mind the sermons today he was feeling oddly ticked off. He was hoping the long sermon would end soon and his moodiness was steadily growing ever more. When the rabbi finished he couldn't get out of the place sooner. His broodiness was getting to him more and more. His countenance was growing darker. Every little thing became a bother. Even stopping for some ice cream upset him. "Why was everyone so happy and full of energy? I can barely stand over here.", Victor thought to himself. While Victor's family and friends were getting energized and filled with more and more joy, Victor was starting to feel more and more drained. He really wanted his bed. When the bride's family suggested stopping at the park for a picnic, Victor managed to catch himself before snapping at all of their cheerfulness. He was paralyzed for a second, shocked at himself and his thoughts. Following his family absentmindedly, an inner battle with guilt began. Finally, Victor was starting to notice his ever-growing dark thoughts. And guilt was finally starting to eat him up. They stopped at the supermarket to collect some food and then managed to reach the park about 10 minutes later. As they were entering the park Victor was finally coming to terms with his sinful behavior. Repentance was beginning to fill him. As he was surrendering to God, he remembered a verse from scripture, from Proverbs 15: 15 to be more precise. All the days of the afflicted are evil, but he that is of a merry heart hath a continual feast. Proverbs 15: 15 (NIV) Releasing his frustration, Victor actively chose to appreciate the food and company during the rest of the day. Steadily his countenance began to lighten, the heaviness departed. The tiredness that was so unbearable became almost like an afterthought. Back at the hotel, Victor couldn't help but conclude that today was a lesson well learned. SOURCES Image created via canva.com .

(1) INTRODUCTION Every project begins with a concept, a basic blueprint. This basic blueprint is the foundation upon which we then build our product, for instance, a house.  With mangas it is similar. It all starts with a basic plotline. And from there we let our imagination run.  STEPS TO WRITING A MANGA On HomeLight.com 35 steps are listed for building a house. From finding and purchasing land, deciding which type of house we would like to build, hiring a building team, to getting the required permits.  Each step is equally important and following them in a certain sequence allows for the process to be smoother and quicker.  There are steps to writing mangas too. The steps are similar to writing other texts, material and books, but have some distinctive features.  PLANNING AND PREPARATION CHOOSE YOUR MANGA TYPE As with house building, we have to choose the type of manga we wish to create. Will it be a slice of life, fantasy, sci-fi, historical or any of the other types? This will help clarify the type of characters and settings we will have. (2) RESEARCH AND BRAINSTORM Researching your genre. Read other manga and comic books to get a feel for what works in the chosen industry. It may also give you ideas for your story. (3) WRITE A QUICK SUMMARY A quick summary will help us stay on track when writing and also help us combat any feelings of weariness and overwhelm. (2) While your story does not have to be completely original, do try to include something that stands out in some way. (2) CREATE CHARACTER PROFILES AND DESIGN Develop a profile for each character. Define their personality and characteristics. Describe their appearances and basic background story. Be original. No coping of other existing characters unless permitted by the owners. (2) DETERMINE THE SETTINGS Determine the setting. Is this a fantasy world? What are the major places? Plan out the locations of the manga where the majority of events will take place. (2) Design and draw out a world (only necessary for a fantasy world), and town maps. Use simple icons to draw the map and only for locations that are relevant to your story. (2) If the town and locations are real, taking photos of them is advised. Next sketch out the locations and some important interiors. (2) DETERMINE THE LENGTH OF YOUR MANGA Write out point-form notes of the major events for each chapter and the characters involved. How much of the story will unfold in each chapter? (2) PLAN FOR PRINTING BEFORE YOU DRAW THE MANGA Do some research on the standard print sizes that are available to use in our location. Also be aware of the “live area”, “bleed” and “trim” areas when choosing to print. You might want to ask for some help from a graphic designer. (2) WRITING AND FORMATTING PLAN YOUR PAGES AND DETERMINE THE PANEL LAYOUT Create rough sketches of each page for a given chapter. The arrangement of these panels can affect the pacing and flow of the story, while the panels’ size and shape can also influence how the reader perceives the story’s events. (2, 3) There is a wide variety of boxes of different formats, rectangular, but also oblique, and even if the principle of a maximum of four vertical lines applies, you can happily exceed this number. Choose what style you will use. (4) When drawing these rough sketches, you can help yourself by drawing Chibi characters. Include the dialog that will take place. Dialogue and narration are essential. Dialogue is the spoken words of the characters, while narration is the voice-over that describes what is happening in the story. Dialogue should be used to reveal character, advance the plot, or provide exposition, and narration should set the scene, provide context, or create an atmosphere. (3) CHOOSE SCRIPT FORMAT The most common format used in manga and comic book writing is the Full Script format. The Marvel Format is also popular. (3) LEARN THE DIFFERENT SPEECH BUBBLES Different styles of speech bubbles can be used. For instance, regular oval shape tends to be used for normal speech, while jagged ones tend to be used for shouting. Stick to the same style. (2) CREATE STORYBOARD, DRAW YOUR MANGA After you have planned everything out, you can begin drawing. Do a light pencil drawing first and ink it afterward.  If you have a pen tablet and the right software you can draw your manga digitally. (2) SHOW , DON’T TELL Instead of telling the reader what is happening, we show them through visuals. (3) PACING AND TIMING Pacing refers to the speed at which the story is told, while timing refers to the moment something happens in the story. (3) REVISION AND REWRITE EDITING AND POLISHING When we are done with writing, the process of editing and polishing begins. Editing includes revising the script for grammar, spelling, and punctuation errors, as well as improving the flow and clarity of the story. (3) Polishing on the other hand involves fine-tuning the script for style and tone, ensuring the story is interesting and well-written. (3) GET FEEDBACK  Get some basic feedback by showing people your character designs and giving them some idea of the plot. Ask for honest feedback. (2) PUBLISHING CHOOSE THE RIGHT SIZE Choosing the right size is crucial. It is important for overall appearance and readability. PROFESIONAL DIGITAL PRINTING It helps comic book creators produce stunning, high-quality graphic novels, manga, and comic books. (3) MARKETING AND SELLING Choosing the right marketing strategy and company is essential for converting sales.  CONCLUSION There are several steps to writing manga as there are in the case of every project. It all starts with research and brainstorming. Creating a summary becomes the foundation upon which we then further build. SOURCES Image created via canva.com . Anime outline. 10 Steps to Make Your Own Manga or Comic Book. Available at https://www.animeoutline.com/steps-to-make-your-own-manga/ Comix Wellspring. How to Write a Manga or Comic Script? March 27, 2023. Available at https://www.grekoprinting-comixwellspring.com/blog/how-to-write-a-manga-or-comic-script/ Repaper. How to create a Manga? Tools, Techniques, and Digital Mastery. Available at https://www.iskn.co/eu/discover/54614397/how-to-create-a-manga

INTRODUCTION Structure, structure, structure. All I keep talking about lately is structure. But as Henry Cloud says, “ Boundaries are basically about providing structure, and structure is essential in building anything that thrives.”  (2) While writing allows for a lot of creativity, it still demands for the following of basic structure rules so we do not end up in complete chaos.  Mangas also follow certain structure patterns. Today we will take a quick look into how mangas are structured.  THE BASIC STRUCTURE OF MANGAS STORY ARC Mangas belong to the visual storytelling genre. They combine visual art with text to tell a certain narrative. As with every other written text they are composed of certain elements and follow a certain structure.  Mangas may include one or multiple story arcs. Story arcs are the chronological construction of a plot in a novel or story. They can also mean an extended or continuing storyline in episodic storytelling media such as television, comic books, comic strips, board games, and so forth. (3) MANGA VOLUMES Each arc consists of multiple volumes. Volumes are collections of chapters and are known under the name Tankobon. Usually, on average they are 6-8 chapters long. (4) MANGA CHAPTER Each manga volume consists of chapters. Chapters are made up of several elements and are usually 15-30 pages long, but can be much longer. (4)  Each chapter is made up of: a cover inside pages. (5) Inside pages have the following basic elements:  panels: squares or rectangles that contain a single scene gutters: space between panels dialog balloons: contain communication between/among characters thought balloons: contain a character’s thoughts captions: contain information about a scene or character sound effects: visual sound clues i.e.. Wonk! Pow! (5) characters, (6) Basic manga page elements The typical manga page template consists of a 2 x 4 grid consisting of 4 rows with 2 panels. Panels may be of different sizes, but the average page has between 6 and 8 panels. (7) PANEL ORDER As you surely know, manga is read from right to left and top to bottom. Panels, dialog, and thought balloons are numbered in the same manner.  PANEL AND BALLON READING ORDER CONCLUSION Mangas follow a certain structure. They consist of story arcs, which are further then divided into separate volumes. Volumes are collections of usually 6-8 chapters. Chapters consist of a cover and inside pages. Every inside page contains panels that are divided by gutters. It can also contain thought and dialogue balloons, sound effects, captions, and characters.  SOURCES Image created via canva.com Henry Cloud. Quotefancy. Available at https://quotefancy.com/quote/1525751/Henry-Cloud-Boundaries-are-basically-about-providing-structure-and-structure-is-essential   Wikipedia. Story Arc. Available at https://en.wikipedia.org/wiki/Story_arc Inubasket. Tapas Forums: Volumes vs chapters. Available at https://forums.tapas.io/t/volumes-vs-chapters/61093/2 Some Manga Basics. Free PDF available at https://www.buffalolib.org/sites/default/files/getgraphic/resources/HowtoReadManga.pdf Lines and grace. How to make manga. July 7, 2023. Available at https://linesandgrace.com/blogs/manga-workshop/how-to-make-manga

(1) Visual storytelling is at once immediate and subversive. - Karin Slaughter (2) INTRODUCTION Life is all about learning. Lesson after lesson, trial after trial, and I dare say victory after victory. We all learn in different ways. Some through studying by reading, others through their visionary function.  Yes, there are different ways we can convey messages and information, or even tell a story. Today I wish to touch on a special subset of storytelling - visual storytelling. VISUAL STORYTELLING Visual storytelling includes mangas, graphic novels, and comics  and combines words and images to narrate stories. (3) MANGAS Mangas (漫画) are a style of Japanese comics or graphic novels that originate from Japan. The term "manga"  comes from the Japanese word 漫画, composed of the two kanji 漫 (man) meaning 'whimsical or impromptu' and 画 (ga) meaning 'pictures'.It literaraly means “whimsical pictures”. The same term is the root of the Korean word for comics, manhwa, and the Chinese word manhua. (4) They typically feature clean, expressive artwork with detailed characters and backgrounds and large and expressive eyes.  They are read from right to left, top to bottom, and can cover a wide range of genres and themes, from action and adventure to romance, horror, fantasy, and slice-of-life. Among the most popular genres are: Shonen : Targeted mainly at young male readers, often involving action, adventure, and coming-of-age stories (e.g., Naruto , One Piece ). Shojo : Targeted at young female readers, often featuring romance and character-driven plots (e.g., Sailor Moon , Fruits Basket ). Seinen : Aimed at adult men, typically dealing with more mature themes (e.g., Berserk , Ghost in the Shell ). Josei : Aimed at adult women, often exploring more realistic romance and relationships (e.g., Nana , Paradise Kiss ). Kodomomuke : Children's manga, often educational or simple, like Doraemon . They are typically serialized in weekly or monthly magazines, then collected into volumes called tankobon . Some popular manga magazines include Shonen Jump , Shonen Magazine , and Weekly Young Jump . (3) GRAPHIC NOVELS A graphic novel is a self-contained, book-length form of sequential art .  (5) Per Merriam-Webster 's dictionary a graphic novel is "a fictional story that is presented in comic-strip format and published as a book ". (5) It tells a complete story or a series of related stories and is often used to distinguish more complex, mature, or literary works from traditional comic books. They tend to be more self-contained, with a cohesive, book-length narrative, whereas comics often come in serialized issues. (3) They cover a broad spectrum of artistic styles, from realistic to abstract. It is usually in full color, but can also be in black and white. They cover a wide range of genres but are often known for exploring more mature, personal, or experimental topics. Common genres include: Fantasy  and Science Fiction  (e.g., The Sandman  by Neil Gaiman, Y: The Last Man  by Brian K. Vaughan). Memoir  and Autobiography  (e.g., Maus  by Art Spiegelman, Persepolis  by Marjane Satrapi). Historical Fiction  (e.g., The Arrival  by Shaun Tan). Superheroes  (though typically seen in comics, graphic novels sometimes explore superhero themes with more depth, like Watchmen  by Alan Moore and Dave Gibbons). Coming-of-age  or slice-of-life  (e.g., American Born Chinese  by Gene Luen Yang). (3) They are typically published as complete books, either hardcover or paperback and tend to be longer than comics, ranging from 100 to 300 pages or more. COMICS Comics describe a medium that combines visual art with written words to convey a narrative. Often they refer to shorter, serialized works in comic book format, usually containing around 20-30 pages per issue. (3) The art ranges from highly stylized and exaggerated drawings to more realistic or abstract styles. They often use a combination of illustrations, text, and panel arrangements to move the story forward. (3) Comics encompass a wide variety of genres: Superheroes : The most famous genre, particularly in American comics, with characters like Superman , Batman , Spider-Man , and X-Men . Adventure , Horror , Fantasy , Science Fiction , and Crime : Comics often explore genres that range from high adventure to deep psychological horror. Humor : Comics like Peanuts  by Charles Schulz and Calvin and Hobbes  by Bill Watterson focus on comedy and daily life. Political and Satirical Comics : Works that comment on societal issues, like Doonesbury  or editorial cartoons. (3) They are often serialized, with individual issues released on a monthly or bi-weekly basis. Major comic book publishers include: Marvel Comics DC Comics Image Comics Dark Horse Comics (3) Comic strips are short, humorous, or satirical strips often published daily in newspapers (e.g., Garfield , Beetle Bailey , Family Circus ). (3) Webcomics have been on the rise. they are often serialized, while others are published as standalone stories. (3) CONCLUSION Stories, information, and messages can be conveyed through visionary art. Mangas, graphic novels, and comics are forms of visual storytelling combining words and images to narrate stories. SOURCES Image created via canva.com Visual Storytelling Quotes. Brainy Quotes. Available at https://www.brainyquote.com/topics/visual-storytelling-quotes ChatGPT Manga. Wikipedia. Available on https://en.wikipedia.org/wiki/Manga Graphic Novel. Wikipedia. Available on https://en.wikipedia.org/wiki/Graphic_novel

How will I write this script, who will aid me on this project big. What software could I use, so I don't more time lose? (1) INTRODUCTION Technology has helped us grow immensely over the years. While it could pose a serious problem in the future with all the AI development, it currently presents an immense release from overwork and provides a quick way of creating and putting out content. Tools are safe to use for the most part and can be a lifesaver for many.  Considering all the different aspects one needs to be able to create, not utilizing these tools seems akin to shooting yourself in the foot. I have expressed my views on AI-generated tools, yet have changed my mind after reading some more on the subject. AI could pose a problem in the future, the software currently available is not yet at that level, where I believe it could be a problem.  Let’s take a quick look at the different scriptwriting tools you can utilize in your grand adventure.  SCRIPTWRITING SOFTWARE TOOLS  There are different types of scriptwriting tools and software available out there you can choose from depending on the type of your script and budget. Today we will take a look at the most commonly used.  1. Celtx: a cloud-based platform Originally launched in 2000 as a desktop scriptwriting app. It offers a 7-day free trial with an option to upgrade or stay with the free version when finished. (2,3) LINK: https://www.celtx.com/ 2. Final Draft: a screenwriting software that is all about writing screenplays, teleplays, and stage plays with zero formatting hassle. They offer a 30-day free trial to explore all the features and everything else Final Draft offers. (2,3) LINK: https://www.finaldraft.com/ 3. Scrivener: is a free app for script writing, available for Mac, Windows, and iOS users and useful for all writers. Unlike Final Draft or Celtx, Scrivener isn’t primarily about nailing industry-standard screenplay format out of the gate—it’s about giving you a sandbox to build your story first. (2,3) The free download will start a 30-day trial mode that is subject to use. For instance, if your usage is limited to two days a week, the free trial will last fifteen weeks. (2) LINK: https://apps.microsoft.com/detail/xp8m0ngdb6hr07?hl=en-US&gl=SI (MICROSOFT) https://apps.apple.com/us/app/scrivener/id972387337 (APPLE) 4. Trelby: is a free, open-source screenwriting software designed to keep things simple and functional for writers crafting screenplays. (2, 3) You can download Trelby to Windows and Linux devices for free. Mac, iPhone, or iPad support is not available yet. (2)  LINK: https://www.trelby.org/ 5. WriterDuet: is a screenwriting software that’s carved out a strong niche, especially for writers who value collaboration and flexibility. It’s mostly known for its real-time collaboration feature. (3) The free version of this software program allows three free projects with no watermark or page limits. (2) LINK: https://www.writerduet.com/ 6. StudioBinder: is a versatile, cloud-based platform that’s become a staple for filmmakers, screenwriters, and production teams looking to streamline their creative and logistical workflows. It provides an all-in-one solution that covers scriptwriting through to production. The screenwriting software is a major draw, and it’s free with no page or project limits—unlike many competitors. It auto-formats your script to industry standards. (3) The free version of StudioBinder is available for all writers indefinitely and offers a great introduction to what the platform can do for you. (2) LINK: https://www.studiobinder.com/ 7. Boords: the screenwriting and storyboarding software. It’s not just a scriptwriting tool—it’s an all-in-one platform that bridges writing, visualizing, and planning. (3) Sign up for a free trial of Broods today to explore everything this script writing and editing software brings to the table. (2) LINK: https://shorturl.at/XW0vz 8. Tinkerlist: is a cloud-based software designed to simplify the creation and management for television programs. (2, 3) Start with a free 14-day trial by signing up as a new user. (2) LINK: https://software.tinkerlist.tv/ 9. Storyline Creator: is a web-based writing tool designed to help authors craft stories, from short tales to full-blown novels, with an emphasis on organization and visualization. (3) The free plan of Storyline Creator is accessible on desktops, smartphones, and tablets. It also supports cloud backup. (2) LINK: https://www.storylinecreator.com/ 10. Arc Studio Pro: is a modern screenwriting software that’s been gaining traction among writers for its sleek design, robust features, and focus on collaboration. Arc Studio Pro comes with a free plan and upgrades. (2, 3) LINK: https://www.arcstudiopro.com/ 11. Fade In: officially known as Fade In Professional Screenwriting Software, is a robust tool designed for writers crafting screenplays, teleplays, stage plays, and more. (3) The free downloadable demonstration version of Fade In is available for Windows, macOS, Linux, Android, and iOS. It comes with all features except real-time online collaboration. (2) LINK: https://www.fadeinpro.com/ 12. Highland 2: is a screenwriting software that’s earned a devoted following for its minimalist design and writer-friendly approach. It’s free to download through the app store for your Mac and comes with two in-built editor themes for a smooth experience. Currently, there’s no Windows version of this app. LINK: https://quoteunquoteapps.com/highland-2/ 13. Plottr: is a visual outlining and story-planning tool launched in 2017 by Cameron Sutter, a YA author who wanted a streamlined way to organize complex narratives. It’s not a traditional screenwriting app like Final Draft—it doesn’t focus on formatting scripts for production—but it excels at helping writers structure stories before drafting.  You can sign up with your email as a new user to get a 14-day free trial. LINK: https://plottr.com/ 14. Movie Magic Screenwriter: is a veteran in the screenwriting world. The software’s bread and butter is its ability to format scripts effortlessly for film, TV, stage plays, novels, and even comic books—pretty much anything narrative-driven. (3, 4) LINK: https://screenplay.com/products/movie-magic-screenwriter-6-6-5-6-7 15. KIT scenarist: KIT Scenarist is a free, open-source screenwriting software for story creation, breaking down the process into four key modules: Research, Cards, Script, and Statistics. (3, 4) LINK: https://kitscenarist.ru/en/index.html CONCLUSION Technology has helped us grow immensely over the years in every area of our lives, including writing. There are many tools out there that help us craft, write, and create amazing content, products, and designs. Among these tools also happen to be scriptwriting software tools which in various degrees assist us in creating scripts.  SOURCES Image created via canva.com Washija Kazim. 13 Best Free Script Writing Software in 2024. February 14, 2024. Available at https://learn.g2.com/free-scriptwriting-software#one   Grook3 AJ Detisch. 9 Best Screenwriting Software Tools. StudioBinder. November 26, 2024. Available at https://www.studiobinder.com/blog/screenwriting-tools/

(1) INTRODUCTION Formatting is how your script appears on the page from scene headings, dialogue,  character names, action, and other features such as margins and font. It produces a visually clear and uncluttered document, in which all involved can quickly get immersed in the actual story. In general, scriptwriting follows the Master Scene Format which has been the golden standard for many years.  WHAT IS FORMATTING  The writing world is all about words and the intricate ways in which we use them to convey a certain message. What writers tend to forget is that how their words look on the page impacts the way the readers read and consume their work. Often it is the determining factor if the readers will engage with the script or not read. (2) That is when formatting comes in. To put it simply, formatting is how your script appears on the page from scene headings, dialogue,  character names, action, and other features such as margins and font. It immediately distinguishes a screenplay from a stage play or a novel, for example. (3) WHY IS FORMATTING IMPORTANT Formatting is a standard that allows the writer to communicate exactly what will be seen and heard onscreen, on stage. It can be easily understood by directors, producers, and other professionals, which is essential in an industry such as show business. Having a standard way of communicating allows readers to be undistracted by trying to decipher a new form each time they read a script. Instead, they can immerse themselves in your story, your characters, and the world you have created. It produces a visually clear and uncluttered document. (3) FORMATTING SCRIPT STANDARDS  As already mentioned there are standards to follow when it comes to formatting a script. These standards have been around for ages. As they say, “Don’t fix what works”. These standards make it easier for directors, actors, broadcasters, and other personnel to quickly immerse themselves in your story, and characters without having to wonder about the form.  We'll take a look into these standards and some tips that will help on your journey toward success.  FONT AND PAPER Scripts should be written using the standard text font Courier New 12 point and printed black one-sided on standard 8.5’x11’ paper.  TITLE PAGE The first page of the script is of course the title page. The title page should include the title, a description line, the name of the playwright, and your information.  The title should be in ALL CAPS and written 4 inches from the left edge of the paper. Beneath the title, there should be a horizontal underscore line that runs the length of the title.  The margins of the title should be: top margin 3,5 inches, left margin 4 inches, right margin 1 inch, bottom margin 1 inch. The title page should not be numbered and your basic information should be in the bottom right-hand corner.  CHARACTER ROSTER The title page is followed by your character roster, also known as ‘dramatis personae’. As is with the title page, this page should also not be numbered.  On this page list the names of your characters, ambiguous names for unknown characters such as ‘man’ or ‘girl,’ and include a short descriptor of the character. Include the most important details. The margins of the dramatis personae are as follows: top margin 1 inch,  left margin 1.5 inches,  right margin 1 inch,  bottom margin 1 inch. STORY - THE MASTER SCENE FORMAT After the character roster follow the pages with the story. For you to be taken seriously you will need to write in the Master Scene Format. The Master scene format consists of: scene heading action lines or scene descriptions character name dialogue parentheticals and transitions. NUMBERING  All numbers start on the first page of the actual story. The beginning of each scene should start with a Roman numeral (I, II, III, IV …), which indicates the ‘Act’ or the part of your play, and the second number, which indicates the scene within the act. Both items should be four inches from the left or centered and underlined. The final number is the page number of the overall script.  SCENE HEADING Every scene requires a scene heading, which provides the readers with the location of the scene, whether it is interior or exterior, and the time of day (DAY, NIGHT). It is written in ALL CAPS. The marks INT., and EXT. Indicated whether the location is interior or exterior. The location must be a single location. All scene headings are located on the left margin of the page. With every new scene, a new scene heading must be created to establish the location. (4) SCENE DESCRIPTIONS Scene descriptions are the words you use to describe what the reader should be visualizing. You'll use this section to describe: Character Actions Location Settings Anything vital to the story that is seen or heard The scene descriptions should appear just underneath the designations. They should be written in ALL CAPS, and the information should be four inches from the left. SETTING is how the stage appears overall. AT RISE is what appears when the lights come up, the curtain rises, or the actors come on stage.  CHARACTERS Your character names should appear in ALL CAPS, indented four inches from the left edge of the page. They can not exist without some sort of action, so follow them either by a line of dialogue or stage directions.  DIALOGUE  Below the character's name comes the dialogue. It includes words that your characters speak to each other. (4) Dialogue is the only element of playscript that will run the whole length of the page from the left margin to the right margin. It should be kept clear and concise. (4) Parentheticals can be utilized now and then to feature further context, but should be used sparingly. (4) STAGE DIRECTIONS Stage directions are prompts that describe the actors' actions when on stage portraying characters. They are to be indented 2.5 inches from the left margin of the script. They should also indicate whether or not they happen during or after the delivery of the lines of dialogue. Double-space a line of stage directions that happen after a line of dialogue.  TRANSITIONS Transitions are used to portray specific visual cuts from one scene to another. They are found in the right margin. Here are two examples: DISSOLVE TO (a dramatic dissolve from one image to another) SMASH CUT TO (a jolting cut from one image to another) (4) MARGINS General script margin settings for the actual document are: 1.5-inch Left Margin 1-inch Top and Bottom Margin In the table below you can see the standard margins for each element of the Master Scene Format. (5) CONCLUSION Formatting is the way your script appears on the page, including scene headings, dialogue, character names, action, and other features such as margins and font. It immediately distinguishes a screenplay from, say, a stage play or a novel. It allows the writer to communicate exactly what will be seen and heard onscreen, on stage. It can be easily understood by directors, producers, and other professionals, which is essential in an industry such as show business. In scriptwriting, especially filmmaking, following the Master Scene Format is the golden standard. SOURCES Image created via canva.com . Nocolas Cole. Flawless Formatting: A Step-By-Step Guide To Make Anything You Write Easy To Read (And Skimmable). Ship 30 for 30. Available at https://www.ship30for30.com/post/flawless-formatting-a-step-by-step-guide-to-make-anything-you-write-easy-to-read-and-skimmable   Jessica Sinyard. Screenplay Formatting: What It Is, Why It Matters, and How to Get It Right. New Writing North. 14 December 2016. Available at https://newwritingnorth.com/journal/screenplay-formatting-matters-get-right/   Ken Miyamoto. How to Format a Script. May 9, 2023. Available at https://screencraft.org/blog/how-to-format-a-script/ Michael Muszynski. Scriptwriting Format. San José State University Writing Center . Available as a free PDF at https://www.sjsu.edu/writingcenter/docs/handouts/Scriptwriting%20Format.pdf

(1) INTRODUCTION TO THE SCRIPTWRITING PROCESS Who doesn’t like a good story? A story of a protagonist, an underdog, going against all odds and preferably winning in the end. I sure know I do. Lately, I have not found a movie that would speak to me enough to catch my interest though. It takes a lot of work to create a masterpiece that will be watched by millions, or even billions of people around the world. Today we will take a quick look into the process of scriptwriting and what can make or break you. FROM AN IDEA WHAT WILL SPRING FORTH? Do you ever find yourself being bombarded with all sorts of ideas? One after the other they pop up in your mind and overflow. All excited you get, only to be disappointed when the first real problem arises. Not every idea produces what we initially imagined it will. Similarly, every story begins with an idea, a story concept. (2, 3) Not all ideas convert well onto the screen. Before we put all of our sweat and tears into an idea, we should answer the following questions: Is there an underlying theme or message? Are there certain motifs or symbolism that could enhance your story’s goals? Is there a specific genre that you want to stick to? What should the audience take away from your story? Once we have answered the question we can begin creating an outline and decide which format is best for our selected media. (2) DEVELOPING OUR WORLD After we have tested our idea, we can begin the fun part of brainstorming for ideas. Slowly we begin the building of our world setting and characters. And of course the building of the plot. A ROUGH SKETCH FOR THE BEST CATCH Before we begin writing our first draft, we should create an outline that will assist us and keep us on track. It is extraordinarily helpful and saves time in the long run. It can be the game-breaker. (2) The outline can be a simple document with just the basic information: the character’s main want, the obstacle opposing this want, and how the protagonist will overcome this obstacle. it can also be more detailed and include scenes and some dialogue. (3) DEVELOP YOUR CHARACTERS There will be three major parts in your development of an outline. One of them will be developing your characters. Start with the protagonist himself. What are his motivations? What is his journey? Do the same for all major players, including the antagonist. Some questions that your character sheet should answer: Who is this character? What is their personality? Why are they in the story? What motivates them? Do they have an important backstory? How do they relate to the other characters? A great script requires that the characters have depth. They need to take the audience on an emotional journey. (3) Discovering what your characters want and making their journey of achieving it hard will be helpful. (2) Also creating compelling characters will drive your story, keep the audience hooked, and make your narrative come alive. Either they will root for them, love them, or love to hate them. They need clear motivations, real-life traits, and flaws that make them relatable. (4) THE SETTING OF THE STORY Developing the world setting is as equally important as developing the characters. Actually, it has a direct impact on the personality of the characters and their motivations. For instance, someone from Japan might have a completely different set of wants, motivations, responses, expectations, and life goals than someone from America. The culture of the setting matters. (3) Also, is the person from a so-called ‘ghetto’? Is he from a richer neighborhood? Where is the story taking place? Is it taking place on Earth or in space? The answers to these questions matter as they help us determine how different locations will affect the characters and their scenes (2) As you build your world, answer these questions: Are there specific world rules that will affect characters? How do the characters relate to this setting? What is the history of the world? How do people communicate? What does nature look like? Or architecture? (2) BUILD A PLOT A very important part of scriptwriting is building a plot. It is extremely helpful to sketch out the major beats or events for each character. Key moments, like introductions, conflicts, climaxes, and resolutions, should be outlined to ensure that the narrative of our story runs smoothly. After all the plot is the roadmap that guides the story and each scene needs to advance it forward. (4) FIRST DRAFT After we have done our outlines, the real writing begins. Overall, the script writing structure generally sticks to the common three-act structure: First act: In the first act, the main protagonist is established and the scene set. The act usually ends with a major event that jumpstarts the story. Second act: In the second act, the protagonist has a main goal but must face obstacles to reach it. Usually, this is where the main character reaches their lower point. Third act: In the third act, comes the climax. The protagonist achieves or fails to reach their main goal, bringing resolution to the story. (2) This three-act structure may also be substituted for a five-act structure that similarly outlines when the build, climax, and final resolution will occur. (2) The three-act structure could be seen as the foundation upon which we build. In the end though, each scene needs to have its own reason to be included in the overall narrative. The timeline also has to be determined: Are there flashbacks? Is the story told in chronological order? Will there be time jumps? (2) Overall, a first draft needs to include all three acts with scenes, dialogue, character arcs, and a complete story. (3) TAKE A STEP BACK After you have placed the last dot on your paper or computer screen it is highly advised you take a step back. Enjoy other projects, do other things, and perhaps choose other activities altogether. This will allow you to approach the editing process with a fresh mind and new energy. (3) After all, if a writer is too entrenched in their current script they may miss out on identifying where potential improvements can be made. (2) REVISE YOUR DRAFT INTO THE FINAL DRAFT Congrats on successfully writing your first draft. Now comes the more tenuous, although for some easiest, part - editing. Essentially this is the process of rewriting and improving the first draft, which usually tends to include lots of cutting of scenes and sometimes characters. (2) When editing, writers are thinking about the big picture of how each story element brings their concept to life and how each fine detail fits in the bigger picture. (3) In this stage, it is very helpful to get constructive feedback as it will ultimately improve the writing and final draft (2) CONCLUSION Every story begins with an idea, a story concept. Generating a story concept, or idea is the first step in every scriptwriting process. Testing it is second. After we have decided that our idea has potential, we begin the process of creating an outline. This includes developing our characters, the world setting, and building a plot. After we have a rough sketch of each, we begin with creating the first draft. The finalized version of the script comes after a rigorous editing process, where usually lots of cutting takes place. SOURCES Image created via canva.com Routledge. Tylor and Francis Group. A Guide to Script Writing. Available at https://blog.routledge.com/humanities-and-media-arts/a-guide-to-script-writing/   Indeed Editorial Team. Learn How To Write A Script in 8 Simple Steps. Updated July 30, 2024 Available at https://www.indeed.com/career-advice/career-development/how-to-write-a-script   Kelly Konya. How to Write a Script: A Complete Guide. Updated on October 17, 2024. Available at https://www.grammarly.com/blog/creative-writing/script/   Until next time!

“A screenplay is an exploration. It’s about the thing you don’t know. It’s a step into the abyss. It necessarily starts somewhere, anywhere; there is a starting point, but the rest is undetermined.” — Charlie Kaufman INTRODUCTION It is Sunday evening. I am sitting in my bed with a cup of coffee in my left hand and the remote in my right. It is time for a movie! Sounds familiar? This picture used to be quite common a few years back, now not so much. Now I am much more likely to get stuck in front of my mobile screen instead.  Let's face it. We all love a good story. I listened to an audible book not o long ago about Passover and all the beautiful tidbits regarding it christians should know about ( What Every Christian Needs to Know About Passover: What It Means and Why It Matters ,  Evan Moffic). The writer mentioned the importance of stories. Through them we humans bond with each other. And let us not forget people can even be healed, encouraged, comforted, enlightened, and awoken through them. Stories matter!  But for a good story to be put on a screen effectively an equally amazing script must be written. The action of writing scripts is called scriptwriting. It is an art all on its own and requires a different set of skills and abilities. Let’s take a quick look into script writing and its different types.  DEFINITION Scriptwriting is the art of developing a written script or screenplay for various performance media such as a movie, television program, theater,  or video games. It entails building a narrative and developing characters, a plot, and a setting. It also includes scripting the language and action that will take place on stage or in a movie. (2) Scriptwriting requires imagination, storytelling abilities, and knowledge about camera angles, lighting, sound design, and other technical aspects of production. A scriptwriter also needs thorough awareness of the target audience, the medium, and the genre when writing a script and the proper software that makes life easier. (2) TYPES OF SCRIPTWRITING Several media require a script. The most common among them are: Television shows and movies Radio broadcasts Commercials  Social media Documentaries Theatre plays Video games Based on the media, format and intention of the script we can separate scriptwriting into several different types: Screenplay : A screenplay is a script meant exclusively for a visual medium, such as film or television. It focuses on visual elements and often includes instructions about what the audience sees, such as character actions, locations and camera angles. (3) Screenplays can be further divided into: Feature Film Screenplay: Full-length movie scripts (90–120 pages). Short Film Screenplay: Brief scripts (under 40 pages). Television Script: Episodic Drama: Hour-long shows (e.g., Breaking Bad). Sitcom: Half-hour comedic scripts (e.g., Friends). Soap Opera: Ongoing serialized dramas. Spec script writing: Spec scripts focuses on an existing property that you don't have official rights to. They are useful for demonstrating writing ability or for trying to get hired for particular properties. (3) Stage Play (Theatre) A stage play is a story written to be performed in a theater. They include a character glossary (dramatis personae), setting and time, and outlined acts and scenes. Intermissions and act/scene-endings are also included as are stage directions, dialogue, and actions. (4) We differentiate between the following stage plays.  Full-Length Play: Two or more acts, often 90+ minutes. One-Act Play: Shorter plays, typically under an hour. Musical Script (Libretto): Includes dialogue and lyrics. Radio & Podcast Scripts Radio scriptwriting is all about creating engaging content using only dialogue, sound effects (SFX), and music. They include:  Radio Drama : Audio-based storytelling with sound cues. Podcast Script : Used for narrative or interview-style podcasts. Video Game Script Video game writing is the art and craft of writing scripts and narratives for video games. (5) Among video game scripts we can find:  Linear Story : A straightforward story with a set beginning, middle, and end (e.g., The Last of Us ). Branching Narrative : Multiple story paths based on player choices (e.g., Detroit: Become Human ). Open-World/Quest-Based Script : Players explore freely, triggering different missions (e.g., The Witcher 3) Cutscene Script:  Cinematic moments between gameplay (e.g., God of War). Dialogue & NPC Interaction Script:  Character conversations and responses (e.g., RPGs like Mass Effect). Commercial & Advertisement Script Commercial scripts are either 60, 30, or 15-second long written scripts that voice actors read to create a voice over for a commercial/advertisement. We differentiantiate between three different types based on the media:  TV Commercials : Short scripts (15–60 seconds). Radio Ads : Scripts tailored for voice and sound effects. Social Media Ads : Short-form scripts for platforms like YouTube and Instagram. Corporate & Educational Script Corporate scriptwriting is used for training videos, presentations, advertisements, explainer videos, and internal communications. Corporate Training Videos : Scripts for instructional content. E-Learning Modules : Narrated educational content. Corporate Presentations : includes scripts of reports and speeches of executives or managers. Promotional & Explainer Videos:  Short videos showcasing a company’s products, services, or values. Internal Communication Videos:  it includes messages from leadership regarding company policies, achievements, or changes Corporate Event Hosting:  Scripts for conferences, award ceremonies, and product launches and other corporate events.  Documentary Script A documentary script is a blueprint that guides narration, interviews, visuals, and sound design in a documentary. These are the 5 different documentary scripts we can find:  Expository  – informs and educates audiences about specific topics by presenting facts, arguments, or explanations. (e.g., Planet Earth ). Observational  – Filmmakers observe and capture real-life events without interfering (e.g., Hoop Dreams ). (6) Participatory  – The filmmaker interacts with subjects (e.g., Super Size Me ). Performative  – incorporates the filmmaker’s personal perspective, experiences, or narrative journey as a central character. (e.g., Waltz with Bashir ). Investigative  – Explores mysteries, scandals, or history (e.g., Making a Murderer ). Poetic:  A poetic documentary film uses imagery, metaphors, and symbolism to explore themes lyrically and subjectively. Reflective:  examine the filmmaker’s thoughts, feelings, and insights about subjects or experiences. News & Talk Show Scripts Scripts written for delivering information regarding current events, or certain subjects events, places, topics.  News Broadcast : Precise and factual delivery of news. Talk Show Script : Outlines segments and interviews. Feature assignment writing:  A feature story is a piece of longform non-fiction content that covers a single topic in detail. (7) Commission writing:  a writing commission is a piece of writing someone pays you to write. (8) Rewriting and script doctoring:  the process of rewriting an existing script or improving specific aspects of it, including structure, characterization, dialogue, pacing, themes, and other elements. Motley employed in film, television and theatre industries. (9) Original script:  Original scripts include those that you create from your own ideas. (3) Adapted script : An adapted script re-imagines an existing story or narrative. (3) Storyboard: a type of script that through writing and images conveys a story. (3) Standalone script : a script for a franchise that contains the same characters, world and tone of an existing property. Pitch script:  a script designed for demonstrating your abilities to a producer or other professional in your industry. It involves properties you're already involved with or have the rights to. (3) Shooting script:  a collection of directions that helps a film or television program understand which scenes to shoot and in what order. (3) CONCLUSION Scriptwriting is the art of developing a written script or screenplay for various performance media such as a movie, television program, theater, or video games. A scriptwriter requires a wide variety of abilities and skills to create an amazing script. Different media require scripts, among them television, film, theatre, radio, advertising, and video games. Based on the media, format, and intention of the script there are different types of scripts out there, like original script, documentary script, video game script, screenplay, and stage play just to name a few. Until next time!

(1) INTRODUCTION Acting, dancing, and singing. The dream of so many little children around the world. Who hasn’t at least at one point dreamt about being a famous singer, or actor? Maybe a rock star? It takes great talent and perseverance to get to that big stage. That big stage of the spotlight where many a dream has come true. And what better way to convey their success stories than through musicals?  Musicals are shows combining elements of straight play with elements associated with music. Every musical is made up of the book (libretto) and the score, which consists of music and lyrics. They tell a story and involve a wide variety of different roles from performers, musicians, lighting and sound engineers, choreographers, and directors to producers. There are key elements to every musical. We will take a quick look at them and also of tips and steps to writing musicals.  WHAT IS A MUSICAL? Musical theatre, also known as a musical, is a show combining elements typically associated with straight play (acting, scriptwriting, performance, emotional exploration, etc.) with the elements typically associated with music (compositions, lyrics, dancing, accompaniment, etc.). (2,3) Its origins date back to the 17th-, 18th-, and 19th-century developments of the opera. (2) The two most common types are: Book musicals – driven by a clear plot and original songs (e.g. Les Miserables). Jukebox musical – more focused on songs by one band or artist, linked by a plot (e.g. We Will Rock You). (4) ELEMENTS TO A MUSICAL Musicals usually tell a story covering a range of emotions, from humor and love to anger and sadness, and involve a wide variety of different roles from performers, musicians, lighting and sound engineers, choreographers, and directors to producers. (3) For a musical to be as great as Mamma Mia!, La La Land, Wizard of Oz, Singin’ in the Rain, they require a whole symphony of different elements coming together: an original storyline, compelling characters, powerful songs performed at the well-timed moments and captivating choreography to fill the stage. (4) Every musical is made up of the following key elements: the book (libretto) and the score, which consists of  music lyrics (2, 5). THE SCORE   A musical score is a written version of music for a particular show, in which the parts for instruments rest on different staves across the page. (6) It contains the songs, instrumental pieces, and orchestration. SONGS Songs in musicals are often comprised of  Verse, where a character explores what’s going on around them Chorus, where the thesis of a song is stated explicitly  Bridge, where a different perspective is presented. (2) They tend to follow an AABA form, where A is the main melody line, repeated twice. B is the release or bridge and should be very different than A. Finally, A is then repeated a third time, usually with a melodic twist to give the final bars more interest. (5) We can find different song types in a musical score. The most common are: The opening number establishes the setting, introduces the main character/s, and sets the overall tone for the show. The ‘I want’ song – usually performed by the protagonist. Expresses their dreams, desires and goals.  Ballads - usually love songs, but they can also philosophize about any strong emotion. The villain’s song – expresses the desires and goals of the antagonist. Charm Song - a character beguiles an audience  Comedy Numbers - aim for laughs  The apology song – performed by a character who’s done wrong, and expresses remorse. Musical Scenes - seamlessly blend dialogue and song, usually with two or more characters  The showstopper – this is a big, memorable and typically highly choreographed song. The center of the show. The Finale – a powerful and emotionally charged song that occurs right at the end of the show leaving lasting impressions. (4,5) SONG PLACEMENT Placement is everything in musical writing. Songs need to be placed at emotional high points for maximum effect. This is especially important for 4 major songs: The Opening Number at the beginning sets the tone for the rest of the show. The Main "I Want" Song. It comes early in the first act. One or more of the main characters sing about their key motivating desire. The Eleven O'clock Number takes place about midway through Act Two. This show tune needs to be strong enough to energize the audience and propel the show toward its climax. The Finale at the end needs to establish a powerful last impression with a satisfying emotional wallop. (5) THE BOOK (LIBRETTO) The book (or libretto) is the script, the narrative structure, the drama at the heart of every musical. (5) Key Book Elements are clear and compelling story line. believable characters  situations that call characters into song. smooth transitions (5) Musicals are usually in either a 3-act form or a more modern 2-act form.  It is important to keep the audience expectant and eager to find out what happens next. Acts and scenes are usually brought to a close through songs and the usage of cliffhangers. (5) STEPS AND TIPS TO WRITING A MUSICAL Here are some tips and steps to follow when you embark on your writing musicals journey.  FIND A STORY THAT ANSWERS A COMPELLING NEED Successful musicals have characters who need or want something desperately. That need comes up against an equally powerful obstacle. The conflict forces the heroes to give their all. (5) If you have found an idea that fits that profile you also need to ask yourself if you believe it would be best told through musical theatre. Will it stand out from other musicals out there? If you believe it has potential, it is worth pursuing. (4) FLESH OUT YOUR CHARACTERS  Create characters with distinct personalities, differing goals, and clashing motives.  Here are the typical story character types you should develop: the hero: strives to help others and usually tries to solve a problem by embarking on a journey.  the lover: a passionate and loyal character, led by their heart rather than their head. the antagonist: the chief enemy of our protagonist, can also be the villain. the mentor: someone who guides the protagonist a part of the way the sidekick: a loyal companion who remains beside our hero down whatever path they choose to venture. (4) SHOW, DON’T TELL Make sure you showcase the true nature of your characters through their actions. Let their actions speak loud and clear. (5) BUILD A LOOSE STRUCTURE Once you have developed your characters start plotting your story on a timeline. Ask yourself when you want to introduce your characters. When should the confrontation occur? (4) STUDY AND PRACTICE THE BASICS OF GOOD STORY TELLING Musicals are all about telling stories. Practicing your storytelling will enrich you and your stories. (5) NEVER TEACH OR PREACH Put your story and character first. Any preaching and teaching should come secondary so e do not lose the interest of the audience. (5) WRITE THE SONGS It is time to write all the songs you will need. A good musical at the end of the day strikes the right balance between dialogue, songs, and dance numbers. Draw your inspiration from the characters and their motives, their dreams, and goals. What are they feeling at the moment? (4) FIND THE SONG PLACEMENTS  Find those places in the story where the characters have an emotional justification for singing. Those places demand for a song! (5) OPEN WITH A KICK-ASS SONG The opening song sets the stage for everything that follows. By the end of the opening number, audiences should know where the story is set, what sort of people are in it, and what the basic tone of the show (comic, satiric, serious, etc.) will be. (5) EVERY ELEMENT MUST SPEAK AS ONE The dialogue, lyrics, and staging must form a single fabric. The characters should move seamlessly between spoken word, dance, and song. (5)  SONGS ARE NOT ENOUGH When transforming an existing story into a musical you need a new vision. Adding new characters, and changing scenery should all contribute. With the addition of songs, we must re-ignite the original. (5) SING IT OR SAY IT, NEVER BOTH There should be no repeating of scenes in singing. If it has already been said, let it not be repeated in a song.  Maurice Zoltow had the following to say in “Mamoulian Directs a Musical” published in the NY Times; “... a song must lift the spoken scene to greater heights than it was before, or the song must be cut no matter how beautiful the melody. The song must not merely repeat in musical terms what has already been put across by the dialogue and actions." (Maurice Zoltow, NY Times, 1/29/1950, "Mamoulian Directs a Musical," section 2, p.1). (5) CALL UPON COLLABORATORS Writing musicals is a group project. At one point we will be required to collaborate with others from musicians, choreographers, composers, actors, producers, and so forth. It will make the musical even better. (4) CONCLUSION Musicals are shows combining elements of straight play with elements associated with music. Their purpose is to tell a certain story that captures the audience, which they achieve through key elements: an original storyline, compelling characters, powerful songs performed at well-timed moments, and captivating choreography to fill the stage. Writing musicals is a group project consisting of musicians, choreographers, composers, actors, producers, and so forth. SOURCES Image created via canva.com Gregory Lawrence. How to write a musical. April 2, 2024. Available at https://www.backstage.com/magazine/article/how-to-write-a-musical-76690/ Bitesize. Musicals and musical theater. Available at https://www.bbc.co.uk/bitesize/articles/zbhqjhv BBC Maestro. How to write a musical. June 7, 2023. Available at https://www.bbcmaestro.com/blog/how-to-write-a-musical Musicals 101: The Cyber Encyclopedia of Musical Theatre, Film, and Television. Elements of a Musical. Available at https://www.musicals101.com/score.htm Alec Chillingworth. What is a musical score? Feb 22, 2024. Available at https://www.epidemicsound.com/blog/what-is-a-musical-score/ Until next time!

Songwriting is telling short stories. But instead of 15 to 20 pages, it's three to five minutes. - Tyler Childers (1) INTRODUCTION In the mall, on the bus, while drinking tea at the local coffee shop, when walking down the street, we are bound to encounter music. It is everywhere nowadays from old classical pieces, rock songs, the legendary pop music of the 70s, 80s, and 90s all the way to more modern electronic music.  Some of these classics are so well known that hearing the first chord floods us with remembrance of the good old times. Such well-written songs were written by amazing songwriters who managed to write hits that will be remembered forever. They have impacted many a soul. And they will live on well after the artists depart from the world. A legacy that will carry on.   THE DEFINITION OF SONGWRITING Songwriting is an art. It is the act or process of writing and creating the music and words of songs through chord progression, melodies, and lyrics. (2, 3). It also includes coming up with ideas and working on the song structure. (2) At its core songwriting is all about connection similar to poetry. (4) Julian Casablancas finds songwriting to be ‘slow-motion improvising’.(5) Others agree. There are no rules to songwriting. Every artist has their own set of rules they follow when creating their masterpieces. Still, there are common elements we can find among all successful songs.  KEY PRINCIPLES TO SONGWRITING To craft engaging, lasting songs that will impact people for generations to come one needs first of all a strong song idea.  (2) Secondarily one needs engaging lyrics  (2) as lyrics are the queen of songwriting (4). For maximum impact though we need to go even beyond. We need prosody (6) .  Prosody is the agreement between music and message. Music is the body language of our words. A lyric takes its meaning from the music that underscores it. (6) An essential part of every song is also a moving melody  (2) - the king of songwriting (4). A catchy melody introduced in the first 30 seconds of the song is key for catching attention. Once we do manage to catch the attention of the crowd, for a lasting impact we also need momentum . (6) Momentum is the consistent, forward movement of the song through time. It is not tempo, and it is not meter. Rather, it is the pace of the song that always delivers on time every time. (6) Lastly, we need a  strong song structure (2) . Restraint (6) happens to be important as it ensures that the song rests in the essential elements. Simplicity does go a long way.  TIPS TO SONGWRITING The process of songwriting can become tedious. Here I will list some tips that will help you on your journey toward a melodic masterpiece, hopefully one that will leave a mark in history.  COME UP WITH A SONG IDEA  It all starts with a great song idea. How does one come up with one, is the question. There are different ways people use to spark their creativity.  Tom Waits listens to five radios at once  intensely for the interesting overlaps. Others prefer silence. They opt to stare out the window for some time. That way they nullify any distractions that would snuff out their creative flow. Attentively they listen and feel for any songwriting prompts.  (2, 7) There is the option of using only LANDR samples  in your first song-crafting attempt. (7) The hidden glosa technique can also come in handy. It encourages writers to take four lines from an existing poem and intersperse them within an entirely new work. (7) SET AN ABSURD TIME LIMIT Setting up an absurd time limit before beginning the process of writing songs has been proven effective. Put yourself under some time pressure and just let yourself flow. (7) GIVE YOUR SONG A NAME Once an idea has been birthed, we need to name it. By naming your song, you give the song a clear framework to work around. It will help you stay on track. (2) CREATE CHORD PROGRESSION AND MELODY Now that we have an idea, pull out your instrument. It is time for some experimenting. Start by creating compelling chord progressions and the complementing melody.  Explore different keys and sounds. You can help yourself with the stream-of-consciousness technique  and simply play what comes to mind. After a while note any melodies, or chords that struck your interest and have been repeating themselves. (7) Before you begin the process, you can opt to listen to some Mozart music . It has been scientifically proven to have a positive effect on your focus. (7) Do not be afraid to go out of your comfort zone and the traditional ways. Use some extended techniques  when playing your instrument. It might lad to amazing ideas. (7) If stuck you can choose to learn a new scale  or new music theory concepts. It will broaden your horizons. (7) Taking a walk can also prove to be beneficial in your songwriting. Take in all the sounds on your walk and record them. In other words, choose to go on a sound walk.  Can they be used in your music? (7) When creating your melody, try humming  over your progression or play your instrument while your chord progression is playing in the background. (2) WRITE A HOOK Start with a powerful hook, or chorus,  that will stand out from the rest of the song with its memorable melody and lyrics. Keep it simple and repetitive. (2) DECIDE ON A SONG STRUCTURE Decide on a song structure  that works best for your song. For beginner songwriters, it can be helpful to follow a basic song structure. A common way to structure a song is verse-chorus-verse-chorus-bridge-chorus. (2) WRITE CAPTIVATING VERSES To keep things exciting and interesting write captivating verses.  Let the verses be longer than the choruses, yet less busy than the hook. (2) Do not forget the simple rule of ‘less is more’ . Limit the use of words and keep it simple. (4, 7) You can help yourself with the layover or cut-up technique. In the layover technique  imagine yourself writing a postcard to a loved one after a layover at the airport. What would you write to them? (7) With the cut-up technique , write out all the words that come to your mind, cut them up, and rearrange them into ideas. (7) When stuck, bust out the rhyming dictionary  or opt to use ChatGPT .  (7) CREATE AN INTRO, OUTRO AND BRIDGES No song would be complete without an intro, outro, and bridge. It is suggested that the intros be kept under 10 seconds. The outros can be longer, but the use of less energy and instruments playing after the last hook  is advised. (7)  As for the bridge, use drums or some other instrument  to give the chorus a stronger impact when every instrument comes back in. (7) RECORD A DEMO After the melody, lyrics and chords have all been combined, it is time to record a demo. (2) MAKE IMPROVEMENTS Take a step away  from the song and come back to it after a while. Relisten  to the demo and make any desired changes and improvements.  (2) CONCLUSION Songwriting is art. It is the process of writing and creating the music and words of songs through chord progression, melodies, and lyrics. Every artist has their own set of rules when writing songs, yet there are basic principles we need to follow to create a memorable song that will have a lasting effect: strong song idea, engaging lyrics, prosody, a moving melody, momentum, strong song structure, and restraint.  SOURCES Image created via canva.com . Soundtrap. Songwriting Tips: How To Write Incredible Songs. Available at https://www.soundtrap.com/content/blog/songwriting-tips-write-songs-in-any-genre Dictionary Cambridge. Songwriting. Available at https://dictionary.cambridge.org/dictionary/english/songwriting Kevin Lee Palmer. The Art of Songwriting. Available at https://www.kevinleepalmer.com/articles/the-art-of-songwriting   Julian Casablancas. Brainy quotes; Songwriting quotes. Available at https://www.brainyquote.com/topics/songwriting-quotes Andrea Stolpe. 3 Principles of Songwriting. Feb 28, 2024. Available at https://www.andreastolpe.com/articles/3-principles-of-songwriting   LANDR. 23 Ridiculous Songwriting Tips That Actually Work. Jan 9, 2025. Available at https://blog.landr.com/10-songwriting-techniques/ Until next time!

“Poetry is a dream dreamed in the presence of reason” - Tomasso Ceva (1) (2) INTRODUCTION Poetry, considered as the art of crafting by Benjamin Jonson, is a literary form that utilizes aestetic and often rhythmic qualities of language to evoke emotions and meanings. (1, 3) As a craft hard to define, poetry stands as a necessary instrument of humanity. It all started a long time ago, all the way in prehistory some say, with magic spells to ensure a good harvest. (3) Poetry might have even predated literacy. Whether true or not, poems were the go-to for transferring information, accounts, tales, and whatnot orally in ancient times. It was a vital part of humanity. Many great legends would have been lost to time, if not properly written down and documented. (3) WHAT IS POETRY? A WONDER TO HARD TO DEFINE How can a flow of the purest of rivers by mere words be defined? Where can we wisdom to define poetry find? Too great is the language of poetry; for humans to cage and mar its beauty.  The great poets of old and new collectively agree on one thing: poetry is hard to define. Trying to put a definition to it is considered a little short of a fool's game. As Samuel Johnson says “To circumscribe poetry by a definition will only show the narrowness of the definer.”  (1) How can we define it? After all there is so much wonder to be found in poetry.  Many consider it a magical play of words. Coleridge equals it to “the best words in the best order. That synthetic and magical power, to which we have exclusively appropriated the name of imagination.” (1) Robert Graves saw poetry as “stored magic,” Andre Breton on the other hand as a “room of marvels.” Gavin Douglas added his two scents and saw it as “pleasance and half wonder.” (1) Joseph Brodsky and Seamus Heaney both went scientific on us in their definitions. Brodsky considered it as “accelerated thinking,” and Seamus Heaney likened it to a “language in orbit.” (1) It is still distinct from science as Paul Dirac noted: “In science one tries to tell people, in such a way as to be understood by everyone, something that no one ever knew before. But in poetry, it's the exact opposite.” (4) CRAFT ON ITS OWN Ben Jonson considers poetry as the art of crafting. Plutarch shared his sentiments. He said: “Painting is silent poetry, and poetry is painting that speaks.” (1) It is “the art of uniting pleasure with truth” per Samuel Johnson. Marianne Moore sees it more as “the art of creating imaginary gardens with real toads”. (4) POETRY IS VERSE Poetry truly is a form all on its own. I like to lean more on Tolstoy’s practicality. He had the following to say, “Poetry is verse: prose is not verse.  Or else poetry is everything with the exception of business documents and school books.” (1) The easiest attempts to define poetry do eventually bring us to its most noticeable elements in comparison to prose - verse, rhyme, stanzas, rhythm, and so forth.  Voltaire does say though: “One merit of poetry few persons will deny: it says more and in fewer words than prose.” (4) TELL ME A STORY OF OLD Tell me a story of ancient times; tell me accounts of old in verses, in rhymes. Jolt my memory with poems of old, bring up stories of hope and victory in this season cold. The first glimpses of poetry could be found in magic spells performed to secure a fruitful harvest. Per some scholars, it may have predated the written word. (3) In Africa, it goes back to prehistory with hunting, panegyric, and elegiac court poetry of the empires of the Nile, Niger, and Volta River valleys. Some forms were also found in the Pyramid Texts written during the 25th century BCE. (3) In Asia the oldest text found is an epic poem about Gilgamesh written in the Sumerian. They also found folk songs such as the Chinese Shijing, religious hymns (such as the Sanskrit Rigveda, the Zoroastrian Gathas, the Hurrian songs, and the Hebrew Psalms); and retellings of oral epics (such as the Egyptian Story of Sinuhe, Indian epic poetry, and the Homeric epics, the Iliad and the Odyssey) (3) Most of these songs and epics contained historical accounts coupled with praise and overcoming victory detailings that taught future generations lessons learned, tactics implemented, or imparted wisdom gained. Many a time it also details accounts of events of divine rebellion and the sad endings of it. Yet as Aristotle says, “Poetry is finer and more philosophical than history; for poetry expresses the universal, and history only the particular.” (4) Plato shared his thoughts: “ Poetry is nearer to vital truth than history.” (4) THE AIM OF POETRY Fundamentally poetry is in its oral form a verbal transaction between a speaker and a listener or in the case of written form, a writer and reader. It establishes a relationship in order to convey a certain message that can go beyond mere words, invoke feelings, a response or even to convey messages. (3) “Poetry should surprise by a fine excess and not by singularity, it should strike the reader as a wording of his own highest thoughts, and appear almost a remembrance,” says John Keats. (4) In poetry, one can find freedom. Freedom to express themselves as they desire to. Allen Ginsberg considers poetry “as the one place where people can speak their original human mind. It is the outlet for people to say in public what is known in private.” (4) John F. Kennedy saw great power in it. He said, “When power leads man toward arrogance, poetry reminds him of his limitations. When power narrows the area of man's concern, poetry reminds him of the richness and diversity of existence. When power corrupts, poetry cleanses. (4) Yes, poetry in the past left its biggest mark in recounting heroic deeds of great characters of old. But has since taken mostly a different course. Nowadays it is mostly used as an outlet of feelings, and truths. Jim Morrison for instance aims through poetry “to deliver people from the limited ways in which they see and feel.” (4) CONCLUSION Poetry is hard to define. To pure, to wonderful. Many attempted to give it justice, but mere words tend to come short of its glory. It is an art and a craft of its own. What presumably began as magic spells, mostly in oral form, continued onwards with the accountings of tales, epics, and the transference of information. In modern-day, poetry is an outlet for emotions, thoughts that we all think and feel but rarely express. “Poetry is thoughts that breathe, and words that burn”, Thomas Grey.  SOURCES Edward Hirsch. A Poet's Glossary: Poetry. Available at https://poets.org/glossary/poetry Image created via canva.com . Wikipedia. Poetry. Available at https://en.wikipedia.org/wiki/Poetry Brainy Quote. Poetry quotes. Available at https://www.brainyquote.com/topics/poetry-quotes

I MIGHT FEEL A BIT VILLANELLEOUS TODAY, BUT PERHAPS THROUGH A PSALM I WILL PRAY To better remember, for more creativity, the following of forms is suggested, when writing poetry. (1) INTRODUCTION Poetry is an art of its own as we have established. It is a great wonder and an amazing way to convey one's deepest thoughts and emotions. It is also a great way to deliver messages or even teach. Poetry predates written language and remained the go-to method even after writing systems were developed and put in place. It was after all the easier way to remember things, especially if the poems follow a certain form. Also, they tend to spark creativity and give to the poem rhythm and sound. A DIVERSE FIELD Let’s face it. For the most part, we all love the comfortable and the familiar things. We most certainly tend to steer away from diversity, at least in the majority parts of life. While I believe in being willing to make bold steps outside your comfort zone when led to do so, there is wisdom to be found in proper boundaries too. Poetry and poets can profit from this too. Poetry can be divided into different styles/types according to forms and genres. Today we will take a quick look into them. POETIC FORMS AND GENRES Poetic forms refer to the structures that hold or give shape to poems. (https://hcmc.uvic.ca/project/closereading/form.html) It speaks of elements such as stanzas, rhyme, rhythm, and meter to name a few, and the pattern in which they are used. Forms are very useful for three reasons: they make poetry easier to remember they shape the rhythm and sound of a poem they challenge our use of language: through creative limitation they make us instinctively look for ever more creative and imaginative ways to use the limited space that we’re given (2) Based on which elements and their number the poem is built from, we can divide poetry into different poetic forms: SONNET A short poem with 14 lines of 10 or 11 syllables each and a regular rhyming pattern according to the scheme. The Italian sonnet consists of an octave and a sestet, the English sonnet on the other hand consists of three quatrains and ends with a rhyming couplet. (3) SHI Shi is the main type of Classical Chinese poetry characterized by "folk song" styled verse (yuefu), "old style" verse (gushi), and "modern style" verse (jintishi). In all cases, rhyming is obligatory. (3) VILLANELLE Villanelle is a 19-line poem with two rhymes and two refrain lines, in the form AJoA 2abAj abA2 abA¡ abA2 abA¡ A2, where capital letters indicate refrains. (3) LIMERICK A limerick is a poem consisting of five lines often of a humorous nature. (4) TANKA Tanka is an unrhymed form of Japanese poetry, with five sections totaling 31 ons (phonological units identical to morae), structured in a 5–7–5–7–7 pattern. (4) HAIKU The most popular form of unrhymed Japanese poetry. It is written in a single vertical line and contains three sections totaling 17 on (morae), structured in a 5–7–5 pattern. (4) KHLONG Khlong is among the oldest Thai poetic forms. It requires tone markings of certain syllables. They must be marked with mai ek or mai tho. Among them is khlong si suphap as the most common form still currently employed. (4) ODE Ode is a lyric poem, a fairly long one, with lines of different lengths and complex rhythms. It is addressed to a particular person or thing. (3) GHAZAL The ghazal is a form of poetry common in Arabic, Bengali, Persian, and Urdu. In classic form, it has from five to fifteen rhyming couplets that share a refrain at the end of the second line, which may be of one or several syllables and is preceded by a rhyme. Each line has an identical meter and is of the same length. Usually the theme is unattainable love or divinity. (4) BALLAD A ballad is a short, narrative poem usually relating to a single, dramatic event. (3) BLANK VERSE Blank verse is a verse that is unrhymed, and composed of lines that normally contain ten syllables and have stress on every second syllable, as in the classical iambic pentameter. (3) FREE VERSE Free verse is poetry without metrical form. (3) RONDEAU Rondeau is a poem of 13 or sometimes 10 lines with only two rhymes. The first line is used as a refrain after the eighth and thirteenth lines. (3) SESTINA A sestina is composed of six stanzas of six lines each. They are followed by an envoi (q.v.) of three lines, all of which are unrhymed. (3) TRIOLET A French fixed form composed of eight lines and using only two rhymes, disposed in the following scheme: ABaAabAB. (3) CLERIHEW They are a little bit like limericks in that they’re short, funny, and often satirical. (2) CINQUAIN A cinquain is a five-line poem consisting of twenty-two syllables: two in the first line, then four, then six, then eight, and then two syllables again in the last line. (2) DIZAIN A dizain is a traditional form made up of just one ten-line stanza. Each line has ten syllables (that’s an even hundred in total). The rhyme scheme is ABABBCCDCD. (2) PARADELLE The paradelle is a complex and demanding variation of the villanelle. A paradelle is composed of four six-line stanzas. In each of the first three stanzas, the first two lines must be the same, the second two lines must be the same, and the final two lines must contain every word from the first and third lines, and only those words, rearranged in a new order. The fourth and final stanza must contain every word from the fifth and sixth lines of the first three stanzas, and only those words, again rearranged in a new order. (2) RONDEL A rondel is a French type of poetry made of three stanzas. The first two are four lines long and refrains. They are repeated as the last two lines of the following two stanzas. The third stanza is five or six lines long. Usually an ABBA ABAB ABBAA rhyme scheme is used, but they can be written in any meter. (2) GOLDEN SHOVEL It is a bit like an acrostic-style poem with secret messages. The last word of every line of a Golden Shovel poem is a word from another poem’s title or line, or a saying or headline you want to work with. (2) PALINDROME Palindrome poems, also called “mirror poems,” are poems that begin repeating backward halfway through, so that the first line and the last line are the same. (2) EKPHRASIS It is a bit like an Ode and usually written about paintings. (2) PASTORAL Pastoral poetry focuses on nature and romanticize the idea of shepherds and agriculture laborers living in harmony with the natural world. (2) ACROSTIC In acrostic poems, certain letters of each line spell out a word or message. Usually the letters that spell the message will be the first letter of each line. (2) FOUND POETRY Found poetry is a poem made up of a composite of external quotations. (2) NONCE A nonce poem is a DIY poem structure intended for one-time use to challenge yourself as a writer. (2) POETRY GENRES Forms define the way a poem arranges sounds, rhythms, or its appearance on the page. Genres on the other hand are like the poem's style. (5) Or put differently they are a tradition or classification of poetry based on the subject matter, style, or other broader literary characteristics. (4) Here is a list of some of them: NARRATIVE POETRY It is a genre of poetry that tells a story (4). LYRIC POETRY Lyric poetry is poetry of a more personal nature (4). EPIC POETRY Epic poetry is poetry defined as lengthy poems concerning events of a heroic or important nature to the culture of the time. (4) SATIRICAL POETRY Poetry revolving around satire. ELEGY An elegy is a mournful, melancholy, or plaintive poem, especially a lament for the dead or a funeral song. (4) VERSE FABLE The fable is an ancient literary genre, often set in verse. It is a succinct story nd features anthropomorphised animals, legendary creatures, plants, inanimate objects, or forces of nature that illustrate a moral lesson. (4) DRAMATIC POETRY Dramatic poetry is drama written in verse to be spoken or sung. (4) SPECULATIVE POETRY Also known as fantastic poetry, a genre that deals thematically with subjects "beyond reality" (4) PROSE POETRY Prose poetry is a hybrid genre that shows attributes of both prose and poetry. (4) LIGHT POETRY Also known as light verse, attempts to be humorous. (4) SLAM POETRY Slam poetry Is a genre where slam performers comment emotively, aloud before an audience, on personal, social, or other matters. (4) PERFORMANCE POETRY Performance poetry fuses a variety of disciplines in a performance of a text, such as dance, music, and other aspects of performance art. (4) LANGUAGE HAPPENINGS They are events that focus less on poetry as a prescriptive literary genre, and more on descriptive linguistic acts and performance, often incorporating broader forms of performance art while poetry is read or created at that moment. (4) COMPUTER POETRY Known also as e-poetry, digital poetry, new-media poetry, hypertext poetry, and computer poetry. It denotes combinatory texts automatically generated from the formal rules and logic of a computer program. (3) CONCRETE POETRY Poetry which conveys meaning through the physical arrangement of the words on the page as well as through the words themselves. (3) PSALMS Psalms are religious lyric poetry. (6) CONCLUSION Poetry is a form of art in itself and is such a diverse field of art. There are a wide variety of different poems out there based on form and genre ranging from free verse, epics, ballads, computer poetry and even more. Feel free to explore poetry and give different genres and forms a go. They say you grow as a writter if you do so. SOURCES Image created via canva.com. Fija Callaghan. Types of Poetry: The Complete Guide with 28 Examples. Available at https://www.scribophile.com/academy/types-of-poetry#why-do-the-different-forms-of-poetry-matter Oakton College. Poetry. Available at https://researchguides.oakton.edu/c.php?g=1313792&p=9658612 Wikipedia. Poetry. Available at https://en.wikipedia.org/wiki/Poetry#Forms Harvard University. Poetry at Harward. Glossary of poetic genres. Available at https://poetry.harvard.edu/glossary-poetic-genres Bob McCabe. The Poetic Nature of the Psalms. Detroit Baptist Theological Seminary. 10 July 2012. Available at https://dbts.edu/2012/07/10/the-poetic-nature-of-the-psalms/ Until next time!