First draft
Second draft
Final
Showing posts with label G.Screen Plays. Show all posts
Showing posts with label G.Screen Plays. Show all posts
Wednesday, 6 January 2016
Script Treatment and Research Dossier
Script Treatment
Research Dossier
Annotations of a published script
Below you can see I have cropped the parts of the Being Human series 1 episode 1 script to show the parts which show good development of the character, good use of dialogue and good use of scene direction.
Good Development of Character- Inner Presence:
This action shows a good development of the character using the inner presence of that particular character. This snip it has describes kind of what is going on within the character as appose to on the exterior and has described part of the character very well.
Good Development of Character- Outer Presence:
This snip it shows a good development of the character using the outer presence this time. This snip describes what the character looks like on the outside and how the character first comes across to people.
Good Development of Character- Context:
This shows a good development of the character using the context this time. This snip describes what the world around the character is like and what is truly going on around him/her.
Good Use of Dialogue:
This snip it shows a good use of dialogue. This snip it uses a good use of dialogue because it doesn't over describe at the same time as under describe what is going on.
Good Use of Scene Direction:
This shows a good use of scene direction because it tells the actor/actress's where and how to act and also describing exactly what is going to be on a screen.
Examples of 10 minute short films
This short film called Victim is of the same genre as what I want my short film to be. the concept was well thought about and carried out and the fact that 'slenderman' is well known gave it an advantage. I like the way that they had put shots of the nature and landscape first as this is something I want to incorporate into my short film, I also liked the use of depth of field and good use of camera angles. The fact that there was no speech made the soundtrack more eerie which set the tone of the short and left the audience on edge about what was going to happen next.
Just like the first example of a short film, I chose this one as it fit the genre I want for my short film and I liked the concept; you can tell it was well thought out and they carried it out well producing an enjoyable short. I thought that the way they had filmed the first couple of shots outside of the house was a good idea as it made it look as if someone or something was watching them, it set the scene and gave the audience something to think about; who or what was it watching them? this is something I might want to incorporate into my own short. I also liked the fact that the actors were believable as this was an issue for me as I was searching for these shorts. I thought the use of silhouettes for the women and they birds was a good idea and it is also something Id incorporate into my own short film. I also liked the concept around the birds dying and it was well carried out, I also liked the fact that you don't actually see the murder, you just see the baseball bat roll and then the male laying on the floor covered in birds which leaves the audience wondering what actually happened and the fact the leave the short on a cliff hanger also made me enjoy this short more as it leaves that question about what happened next.
Audience Research
when writing my script I had to think what genre I wanted my script to be and what type of audience will my short will be aimed at. I wanted to make a horror but I didn't want it to be too conventional and be similar to many other horror films out already yet I still wanted it to be appealing to my audience so I gathered the data by sending out a questionnaire online. I asked basic questions such as asking if a film like this could appeal to them, what genres do they prefer etc. Below you can see some of the questions I ask in my research questionnaire and the responses I got back.
From my data I realized that the most popular genres among the teen demographic, mainly males who responded to this questionnaire, was Comedy, Horror and Action. My script will be of the horror genre however using this information I will incorporate comedy within the dialogue before 'horror scenes' occur as I do not want it to be a comedy/horror but I still want it appeal to this teen demographic.
Themes, location and characters:
When writing up my script I did take in consideration that I may not be able to make this as certain themes within my script such as the violence would be not impossible but improbable. My story isn't based in a specific area as it has no need to be specified however it will be mainly filmed indoors set within a average UK house. Some of the scenes will be set outside of the house and due to the nature of the script and time set I would have to let authorities know so that if passersby are concerned/worried it can be easily dealt with.
Small parts of my script such as at the beginning and the end will be set on a beach near a wooded area, This specific location won't that difficult to obtain as Links Hill/Gunton Warren in Lowestoft fits the location I want as it is right next to the sea front and has a large wooden area.Links Hill is often quite desolate apart from dog walkers however due to the time of day I would have to film at this location this wouldn't be an issue.
 |
| Links Hill/Gunton Warren |
The Idea for my script came from my own interest in horrors and psychological thrillers as well as my interests in serial killers. One existing text that is familiar to my idea is the film Triangle.
Triangle is a 2009 British psychological horror thriller film written and directed by Christopher Smith, and starring Melissa George and Michael Dorman. The film was released in the United Kingdom on 16 October 2009. Melissa George plays a single mother who goes on a boating trip with several friends. When they are forced to abandon their ship, they board a derelict ocean liner, where they become convinced that someone is stalking them. When they reach the main deck, they can not find any passenger or crew onboard. Jess has the sensation of déjà vu and soon they learn that there is someone hunting them down, It is her. Further, Jess discovers that the only way to save the group and get out of the time loop is killing them all. It is similar to my idea as uses time loop as a theme and it is also similar within the genre I want mine to be, horror, psychological thriller.
One existing text that may of influenced my screen play was the serial killer John Wayne Gacy, Jr. (March 17, 1942 – May 10, 1994), also known as the Killer Clown, he was an American serial killer and rapist who sexually assaulted and murdered at least 33 teenage boys and young men between 1972 and 1978 in Chicago, Illinois. Gacy was a respected member of his community, and often dressed up as a clown for children's birthday parties. But he also sometimes dressed up during his murders, putting on the guise of his alter-ego, "Pogo the Clown." After he was caught, the papers often referred to him as "The Killer Clown." This influenced my screenplays antagonist to be dressed in a costume that would be considered 'scary' such as the clown costume.
Another existing text that is similar to my screenplay idea is the film Edge of Tomorrow.
My characters are somewhat influenced by the characters in the British teen drama, Skins. However my characters are older.
Bibliography
http://downloads.bbc.co.uk/writersroom/scripts/being_human_s1e1.pdf
http://www.imdb.com/title/tt1187064/plotsummary
https://en.wikipedia.org/wiki/John_Wayne_Gacy
http://www.imdb.com/title/tt1631867/
the commissioning process and working as a writer.
Job roles with in the commissioning process
commissioning editors
Commissioning editors select ideas that they feel will work well and allocate the production team a certain budget to create the product. There are usually different commissioning editors for a specific genre, for example, there would be a different person selecting ideas for dramas to the person selecting comedies etc. Once the commissioning editor has chosen an idea and given the production team a budget they will follow the production all the way until it is ready to be transmitted or released.
producers
Producers will deal with all areas of a production that the director doesn’t deal with. Included in this is overseeing and dealing with tasks such as legal issues, cast and crew, budget, marketing of the product and much more. The Producer can have also been the person who pitched the idea and they have control over who the director will be and who will be playing certain characters. An example of a producer is Spike Jonze,as well as a producer he is a director, screenwriter and actor, whose work includes music videos, commercials, film and television such as; Her, Fully Flared and Yeah Right.
Directors
The director will take the idea that was pitched and will turn it into the images and sound that audience will finally see. The director has full control on what is happening on set. For example they can direct the director of photography on certain shots that are needed and direct the cast on what to do during a scene. They can also direct the editor during post-production stages on what shots to use and sometimes to delete entire scenes from the product. An example of a famous director is Judd Apatow, the founder of Apatow Productions, he is most known for directing 40-year-old Virgin, Trainwreck and Knocked Up.
Script Editors
Script Editors do not simply just edit scripts, they have many different responsibilities including developing the storyline, ensuring the scripts are suitable for production and finding new writers for scripts. Script editors evaluate screenplays and give a different perspective, they remind screenwriters of the production company's requirements and the market for films. they are responsible for helping screenwriters to map out their story, they have to remind them when they deviate from the narrative. Script editors agree a development schedule with producers and screenwriters, this schedule usually includes development meetings, one-to-one editorial meetings, and regular feedback. Script editors will usually work closely with the producers during production,they assess and support relationships between screenwriters and producers. They have to be present at all script development meetings to make sure that all parties share the same vision for the project, they also keep a record of any decisions made. Script editors should negotiate their contracts before they start work, setting out fees and delivery deadlines for each stage of the process. The role varies, depending on whether script editors are freelance, or working in-house for a production company. During each draft of the script the script editor will work with the writer, giving them tips, suggesting improvements and ensuring that the length of the script adheres to the running time of the production.
Commissioning bodies
Getting commissioned is difficult and a lot of writers struggle to get their name recognised, some never get commissioned or even get an opportunity to pitch. However, many different ways exist for new writers.Depending on the commissioning body, processes and chances of success are different. For example, if you enter a competition, the process in which your screenplay may be commissioned is completely different to the process in which it may be commissioned if you send your script to a major corporation.
corporations
A corporation commissioning body is a company that will buy the script or idea off of a writer and put it into production. The commissioning body is the part of the company that chooses what TV shows and films should be made from scripts that have been sent in from writers and screenwriters. Scripts are sent to the company from many applicants, however only a small few that the company deem as interesting will have money invested into them to be placed into production. They make their money from box office revenue of the film and sales of the film. A film corporation will not want a film to flop because then the corporation will make a loss. Because of this they cannot afford to release lots of bad movie or movies that no one has interest in. They like to release sequels to blockbusters because they have a more likely chance of grossing more money. Examples of major film corporations include; Warner Brothers, who have made films such as Get Hard(2015), Annabelle(2014) and We're the Millers(2013), Disney, MGM and Paramount. A corporation commissioning body is a company that will buy the script or idea off of a writer and put it into production.
Independent production companies
An independent production company is where productions for films take place outside of the major film corporations, they usually commission low budget films and ideas that bigger companies would not make enough profit off. They tend to commission external and established writers. It is also a good starting point for beginner directors to build their portfolio and writers to have a hand in opportunity starting at the bottom and working themselves up. An example of this is the Weinstien Company. They are a multimedia and distribution company, it begun in 2005, two brothers Bob and Harvey Weinstien who founded Mira-max films in 1979. They have commissioned various films like Southpaw (2015) , Big Eyes (2014) and The Imitation Game (2014) . Another example is Synthetic Cinema they sell their films to home video distributors, they also posses an in-house screenwriter called John Doolan , they help support low budget films and coming up writers they have created productions like Deep in the Darkness (2014) and Remains (2011).
independent directors
Independent directors usually produce their own screenplays that they have written themselves or have taken a big part in the screenwriting stage. It can be difficult for a director to be in the stage where he has the funding to produce their own screenplay. So this can make it hard for this to happen. Robert Rodriguez wrote and directed the film El mariachi (Rodriguez, 1992). People who make independent films usually have multiple roles to lower the cost of paying more people to work.
competitions
Some organisations use competitions to find new writers. The BBC Writer’s Room is an example of an organisation that does this. The competitions sometimes have certain requirements such as length or genre or they can sometimes be open to anything. The rewards are usually money and the chance for the screenplay to be made into a production.
The role of the writer throughout production
pre-production planning
Pre-production planning for a writer can usually include researching the subject that the script is on. For example if the script is set during Victorian times, the writer will want to research how people lived then, who was in power or the way that people talked. The more research that the writer does, the more authentic the production will seem. If there are any mistakes with the research people may be offended or put off the production. Also there can be legal implications if the events are not depicted accurately.
script editing
Script editing is done by a script editor. Feedback is given the screenwriter on how he can improve the script. The screenwriter does not have to make these changes if he does not agree but it is best to. Instead of pointing out problems the script editor will help the screenwriter to identify the problems and help improve the overall script.
Director or producer involvement
Directors and Producers can sometimes ruin how the screenwriter pictured the final screenplay. The Director pretty much has the final say on how the production will be so if he pictured the production differently there may be disagreements between the two. In some cases writers take their name of the production because they are so disgusted with the final outcome. Lee Hall talked about this in an interview stating, “The writer has very little influence in film, not like in plays or in the theatre.” Below is an example of a disagreement between a Guinevere Tuner and Uwe Boll over the film BloodRayne. Guinevere was 2 weeks late with the script for Bloodrayne, Uwe Boll gave her somewhat abuse leading her to call her manager saying 'he's never allowed to call me again' and he never did. She delivered the first draft of the script about a week after this and he claimed that he loved it and wanted to go into production the next day. Later on the producer called when the movie was finished to say that Uwe changed a lot of the script and that he let the actors have a 'crack' at it. She claimed that 20% of what she wrote was on screen.
shooting script production
To make the script easier to shoot, before production begins page numbers and scene numbers are added to the script. Sometimes changes need to be made to the script when production has already begun. If this happens there are guidelines on how this should be distributed and logged. These guidelines usually include something such as sending all cast and crew that the changes will affect the new pages with the changes on them.
page lock-down
Page lock-down is when if any changes to the script are made, they are coded and sent as separate pages. This is done to save time as if the changes were added to the complete draft of the script the whole scene numbers will have to be changed. The added pages are given codes such as 42a rather than 43 if it goes after page 42. If a page is cancelled from the script it is either taken out completely or there are clear notes stating this this scene had been cancelled.
adjustment during shooting stage
There are adjustments that can be made during production, some re-writes or changes may still need to be made, once the locking of the page has occurred it is easier to track as the revised pages and un-revised pages as they are kept separate, allowing the differences to be shown from the original script to the changes. The writer needs to be present when this is occurring, to work with the director and combined ideas of how the scene will be structured, this is when the relationship between the directors, producers and writers are crucial.
Working as a writer
Agent representation
An agent is someone who looks after the sales and the work load of the writer. They will take a fixed percentage from how much the client ever makes due to the work of the agent. The agent will negotiate the sale to publishers, theatrical producers and film producers. Some well know publishing companies will not accept clients unless they have an agent to represent them. Having a well-known and more experienced agent, is a big advantage as they will already have contacts to send on the work. For an example if a company wanted a writer for a programe they will go to agents to find one, who would take a profit of the payment the writer would receive for the job.
Royalty payments/optioning
Royalty payments are the payment a writer will receive from the use of the scripts or the sales of books and films. For example for each book sold, the writer can receive a percentage of the payment this is known as royalty. Royalty payments are split between the writer, agents and the producers and such. Payments and salaries that writers will receive vary wildly.
Professional presentation
Writers usually have to have a professional presentation. This can include the clothes they wear such as a suit and clean pressed clothes and the presentation of their work such as a well laid out PowerPoint. This is important as the production company needs to know that can rely on this person.
Time management
Time management is important to a writer but it can also be a burden. Writers usually work to a certain deadline so that production can start on time. This can be a problem as some writers do not work to their full amount if they are not in the right mind or mood and can sometimes get ‘writer’s block’. If the screenplay is being written without a deadline it means that the writer can work when he can or when he feels like it. Working hours are very ‘free’ as it can vary from working for example one hour a day to working 20 hours a day. If they fail to meet deadlines there is a chance they will be fired from the production and someone else will take their role.
Legal and ethical considerations
There are lots of legal and ethical considerations that a writer has to take into account when writing a screenplay. The most common law that is broken is copyright. It can usually happen accidentally as a lot of stories have been told so there is little originality left. Writers also have to make sure they are not biased unless their point of view is true. They also have to take watersheds into account as if the screenplay they were writing was going to be broadcast before the 9pm watershed they would have to make sure that there was nothing inappropriate in their script and that it meets Ofcom’s guidelines. If there is anything inappropriate then some scenes in the production may be censored and cut from TV broadcasting. The writer needs to take into account the BBFC rating that the production is aiming for. For example if they are aiming for a PG certificate the writer needs to make sure that there is nothing in the script that will mean it can’t be PG. Libel problems also need to be considered so that no one is offended by untrue remarks. If the screenplay does commit libel laws they are at a high risk of being sued.
commissioning editors
Commissioning editors select ideas that they feel will work well and allocate the production team a certain budget to create the product. There are usually different commissioning editors for a specific genre, for example, there would be a different person selecting ideas for dramas to the person selecting comedies etc. Once the commissioning editor has chosen an idea and given the production team a budget they will follow the production all the way until it is ready to be transmitted or released.
producers
Producers will deal with all areas of a production that the director doesn’t deal with. Included in this is overseeing and dealing with tasks such as legal issues, cast and crew, budget, marketing of the product and much more. The Producer can have also been the person who pitched the idea and they have control over who the director will be and who will be playing certain characters. An example of a producer is Spike Jonze,as well as a producer he is a director, screenwriter and actor, whose work includes music videos, commercials, film and television such as; Her, Fully Flared and Yeah Right.
Directors
The director will take the idea that was pitched and will turn it into the images and sound that audience will finally see. The director has full control on what is happening on set. For example they can direct the director of photography on certain shots that are needed and direct the cast on what to do during a scene. They can also direct the editor during post-production stages on what shots to use and sometimes to delete entire scenes from the product. An example of a famous director is Judd Apatow, the founder of Apatow Productions, he is most known for directing 40-year-old Virgin, Trainwreck and Knocked Up.
Script Editors
Script Editors do not simply just edit scripts, they have many different responsibilities including developing the storyline, ensuring the scripts are suitable for production and finding new writers for scripts. Script editors evaluate screenplays and give a different perspective, they remind screenwriters of the production company's requirements and the market for films. they are responsible for helping screenwriters to map out their story, they have to remind them when they deviate from the narrative. Script editors agree a development schedule with producers and screenwriters, this schedule usually includes development meetings, one-to-one editorial meetings, and regular feedback. Script editors will usually work closely with the producers during production,they assess and support relationships between screenwriters and producers. They have to be present at all script development meetings to make sure that all parties share the same vision for the project, they also keep a record of any decisions made. Script editors should negotiate their contracts before they start work, setting out fees and delivery deadlines for each stage of the process. The role varies, depending on whether script editors are freelance, or working in-house for a production company. During each draft of the script the script editor will work with the writer, giving them tips, suggesting improvements and ensuring that the length of the script adheres to the running time of the production.
Commissioning bodies
Getting commissioned is difficult and a lot of writers struggle to get their name recognised, some never get commissioned or even get an opportunity to pitch. However, many different ways exist for new writers.Depending on the commissioning body, processes and chances of success are different. For example, if you enter a competition, the process in which your screenplay may be commissioned is completely different to the process in which it may be commissioned if you send your script to a major corporation.
corporations
A corporation commissioning body is a company that will buy the script or idea off of a writer and put it into production. The commissioning body is the part of the company that chooses what TV shows and films should be made from scripts that have been sent in from writers and screenwriters. Scripts are sent to the company from many applicants, however only a small few that the company deem as interesting will have money invested into them to be placed into production. They make their money from box office revenue of the film and sales of the film. A film corporation will not want a film to flop because then the corporation will make a loss. Because of this they cannot afford to release lots of bad movie or movies that no one has interest in. They like to release sequels to blockbusters because they have a more likely chance of grossing more money. Examples of major film corporations include; Warner Brothers, who have made films such as Get Hard(2015), Annabelle(2014) and We're the Millers(2013), Disney, MGM and Paramount. A corporation commissioning body is a company that will buy the script or idea off of a writer and put it into production.
Independent production companies
An independent production company is where productions for films take place outside of the major film corporations, they usually commission low budget films and ideas that bigger companies would not make enough profit off. They tend to commission external and established writers. It is also a good starting point for beginner directors to build their portfolio and writers to have a hand in opportunity starting at the bottom and working themselves up. An example of this is the Weinstien Company. They are a multimedia and distribution company, it begun in 2005, two brothers Bob and Harvey Weinstien who founded Mira-max films in 1979. They have commissioned various films like Southpaw (2015) , Big Eyes (2014) and The Imitation Game (2014) . Another example is Synthetic Cinema they sell their films to home video distributors, they also posses an in-house screenwriter called John Doolan , they help support low budget films and coming up writers they have created productions like Deep in the Darkness (2014) and Remains (2011).
 |
| Bob and Harvey Weinstien |
independent directors
Independent directors usually produce their own screenplays that they have written themselves or have taken a big part in the screenwriting stage. It can be difficult for a director to be in the stage where he has the funding to produce their own screenplay. So this can make it hard for this to happen. Robert Rodriguez wrote and directed the film El mariachi (Rodriguez, 1992). People who make independent films usually have multiple roles to lower the cost of paying more people to work.
competitions
Some organisations use competitions to find new writers. The BBC Writer’s Room is an example of an organisation that does this. The competitions sometimes have certain requirements such as length or genre or they can sometimes be open to anything. The rewards are usually money and the chance for the screenplay to be made into a production.
 |
| Some competitions that the BBC writer's Room offer. |
The role of the writer throughout production
pre-production planning
Pre-production planning for a writer can usually include researching the subject that the script is on. For example if the script is set during Victorian times, the writer will want to research how people lived then, who was in power or the way that people talked. The more research that the writer does, the more authentic the production will seem. If there are any mistakes with the research people may be offended or put off the production. Also there can be legal implications if the events are not depicted accurately.
script editing
Script editing is done by a script editor. Feedback is given the screenwriter on how he can improve the script. The screenwriter does not have to make these changes if he does not agree but it is best to. Instead of pointing out problems the script editor will help the screenwriter to identify the problems and help improve the overall script.
Director or producer involvement
Directors and Producers can sometimes ruin how the screenwriter pictured the final screenplay. The Director pretty much has the final say on how the production will be so if he pictured the production differently there may be disagreements between the two. In some cases writers take their name of the production because they are so disgusted with the final outcome. Lee Hall talked about this in an interview stating, “The writer has very little influence in film, not like in plays or in the theatre.” Below is an example of a disagreement between a Guinevere Tuner and Uwe Boll over the film BloodRayne. Guinevere was 2 weeks late with the script for Bloodrayne, Uwe Boll gave her somewhat abuse leading her to call her manager saying 'he's never allowed to call me again' and he never did. She delivered the first draft of the script about a week after this and he claimed that he loved it and wanted to go into production the next day. Later on the producer called when the movie was finished to say that Uwe changed a lot of the script and that he let the actors have a 'crack' at it. She claimed that 20% of what she wrote was on screen.
shooting script production
To make the script easier to shoot, before production begins page numbers and scene numbers are added to the script. Sometimes changes need to be made to the script when production has already begun. If this happens there are guidelines on how this should be distributed and logged. These guidelines usually include something such as sending all cast and crew that the changes will affect the new pages with the changes on them.
page lock-down
Page lock-down is when if any changes to the script are made, they are coded and sent as separate pages. This is done to save time as if the changes were added to the complete draft of the script the whole scene numbers will have to be changed. The added pages are given codes such as 42a rather than 43 if it goes after page 42. If a page is cancelled from the script it is either taken out completely or there are clear notes stating this this scene had been cancelled.
adjustment during shooting stage
There are adjustments that can be made during production, some re-writes or changes may still need to be made, once the locking of the page has occurred it is easier to track as the revised pages and un-revised pages as they are kept separate, allowing the differences to be shown from the original script to the changes. The writer needs to be present when this is occurring, to work with the director and combined ideas of how the scene will be structured, this is when the relationship between the directors, producers and writers are crucial.
Working as a writer
Agent representation
An agent is someone who looks after the sales and the work load of the writer. They will take a fixed percentage from how much the client ever makes due to the work of the agent. The agent will negotiate the sale to publishers, theatrical producers and film producers. Some well know publishing companies will not accept clients unless they have an agent to represent them. Having a well-known and more experienced agent, is a big advantage as they will already have contacts to send on the work. For an example if a company wanted a writer for a programe they will go to agents to find one, who would take a profit of the payment the writer would receive for the job.
Royalty payments/optioning
Royalty payments are the payment a writer will receive from the use of the scripts or the sales of books and films. For example for each book sold, the writer can receive a percentage of the payment this is known as royalty. Royalty payments are split between the writer, agents and the producers and such. Payments and salaries that writers will receive vary wildly.
Professional presentation
Writers usually have to have a professional presentation. This can include the clothes they wear such as a suit and clean pressed clothes and the presentation of their work such as a well laid out PowerPoint. This is important as the production company needs to know that can rely on this person.
Time management
Time management is important to a writer but it can also be a burden. Writers usually work to a certain deadline so that production can start on time. This can be a problem as some writers do not work to their full amount if they are not in the right mind or mood and can sometimes get ‘writer’s block’. If the screenplay is being written without a deadline it means that the writer can work when he can or when he feels like it. Working hours are very ‘free’ as it can vary from working for example one hour a day to working 20 hours a day. If they fail to meet deadlines there is a chance they will be fired from the production and someone else will take their role.
Legal and ethical considerations
There are lots of legal and ethical considerations that a writer has to take into account when writing a screenplay. The most common law that is broken is copyright. It can usually happen accidentally as a lot of stories have been told so there is little originality left. Writers also have to make sure they are not biased unless their point of view is true. They also have to take watersheds into account as if the screenplay they were writing was going to be broadcast before the 9pm watershed they would have to make sure that there was nothing inappropriate in their script and that it meets Ofcom’s guidelines. If there is anything inappropriate then some scenes in the production may be censored and cut from TV broadcasting. The writer needs to take into account the BBFC rating that the production is aiming for. For example if they are aiming for a PG certificate the writer needs to make sure that there is nothing in the script that will mean it can’t be PG. Libel problems also need to be considered so that no one is offended by untrue remarks. If the screenplay does commit libel laws they are at a high risk of being sued.
Wednesday, 21 October 2015
Practice Writing
Newspapers and magazines
1)This could be used to create an educational drama on Rosemary Kennedy's life and the things she's endured such as a due to her father (Joseph), with her obviously being the main protagonist.
- forced prefrontal lobotomy - Didn't make any improvements - the left side of Rosie's body had been partially paralyzed. Her head titled, frozen near her left shoulder. The fingers of her left hand became gnarled and useless'. Leaving her lethargic, incontinent, she couldn't talk and relied on grunting, screaming and shrieking. She relearned walking, brushing her teeth, simple dressing.
The barbaric treatment did not erase her temper tantrums but she became worse and was assigned two guards in her living quarters.
- hid away in convents and sanitariums
Rosemary Kennedy(protagonist) , the eldest daughter of Joseph and Rose, had her life destroyed because of the fear and ignorance of her father. Joseph wanted her out of sight as his pushed his son toward the presidency, hiding her away in convents and sanitariums.
In November 1941, unbeknownst to his family, Joe took Rosemary to be examined by Dr. Walter Freeman, a neurologist and psychiatrist who was also a George Washington University professor, Freeman diagnosed Rosemary's condition as 'agitated depression', and suggested that a new neurosurgical procedure, a prefrontal lobotomy, would end the rages and 'render her happy and content'. Joe gave Freeman the okay to proceed that fall at George Washington University Hospital.
The radical experimental surgery on his 23-year-old daughter was based on a misdiagnosis of her mental faculties. It was the worst day of Rosemary's life.She was not mentally retarded as he was told by a ruthless and irresponsible doctor but learning disabled. Rosemary was packed off again to an institution, Craig House in Beacon, New York, a private psychiatric hospital an hour north of Manhattan. In 1949, on learning that Rosie was being sexually abused at Craig House, Joe had her moved to Saint Coletta, a home for the mentally retarded in southeastern Jefferson, Wisconsin
Rosemary spent more than 50 years living in a Wisconsin hospital cared for by a nun when she could have been treated with therapy. Rosie died on January 7, 2005 at the age of eighty-six. A Saint Coletta nun sat by Rosie's coffin. When asked by Rosie's siblings what was really wrong with Rosemary, was she really retarded, the nun responded, 'I believe she was like me. She had problems reading in school like I did. They called me a slow learner'.
- Asking a girl out:
- Telling someone you like them:
1)This could be used to create an educational drama on Rosemary Kennedy's life and the things she's endured such as a due to her father (Joseph), with her obviously being the main protagonist.
- forced prefrontal lobotomy - Didn't make any improvements - the left side of Rosie's body had been partially paralyzed. Her head titled, frozen near her left shoulder. The fingers of her left hand became gnarled and useless'. Leaving her lethargic, incontinent, she couldn't talk and relied on grunting, screaming and shrieking. She relearned walking, brushing her teeth, simple dressing.
The barbaric treatment did not erase her temper tantrums but she became worse and was assigned two guards in her living quarters.
- hid away in convents and sanitariums
Rosemary Kennedy(protagonist) , the eldest daughter of Joseph and Rose, had her life destroyed because of the fear and ignorance of her father. Joseph wanted her out of sight as his pushed his son toward the presidency, hiding her away in convents and sanitariums.
In November 1941, unbeknownst to his family, Joe took Rosemary to be examined by Dr. Walter Freeman, a neurologist and psychiatrist who was also a George Washington University professor, Freeman diagnosed Rosemary's condition as 'agitated depression', and suggested that a new neurosurgical procedure, a prefrontal lobotomy, would end the rages and 'render her happy and content'. Joe gave Freeman the okay to proceed that fall at George Washington University Hospital.
The radical experimental surgery on his 23-year-old daughter was based on a misdiagnosis of her mental faculties. It was the worst day of Rosemary's life.She was not mentally retarded as he was told by a ruthless and irresponsible doctor but learning disabled. Rosemary was packed off again to an institution, Craig House in Beacon, New York, a private psychiatric hospital an hour north of Manhattan. In 1949, on learning that Rosie was being sexually abused at Craig House, Joe had her moved to Saint Coletta, a home for the mentally retarded in southeastern Jefferson, Wisconsin
Rosemary spent more than 50 years living in a Wisconsin hospital cared for by a nun when she could have been treated with therapy. Rosie died on January 7, 2005 at the age of eighty-six. A Saint Coletta nun sat by Rosie's coffin. When asked by Rosie's siblings what was really wrong with Rosemary, was she really retarded, the nun responded, 'I believe she was like me. She had problems reading in school like I did. They called me a slow learner'.
Practice Script Writing
- Asking a girl out:
- Telling someone you like them:
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