Stephen King Unwitting Screenwriter Research Paper Essay

Stephen King: Unintentional Screenwriter Essay, Research Paper

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Movies are going more and more popular with new particular effects and narratives that are fascinating and gripping - Stephen King Unwitting Screenwriter Research Paper Essay introduction. Movies now have enduring effects on viewing audiences, since the narratives are going more involved and more in deepness. Screenwriters are invariably seeking to make better screenplays to hold made into gesture images, yet there are 1000s, if non 1000000s, of film writers out at that place seeking to gain a pay. The Writer & # 8217 ; s Guild of America studies that in one twelvemonth an norm of 40,000 screenplays will be submitted and out of those lone 120 will be made into gesture images. ( Field 5 ) Stephen King, who has no association to being a film writer, has written legion novels that about everyone knows without them holding of all time read one word. Stephen King has a manner of composing that entreaties to both readers and movie lovers. King who is an writer of books has beaten out 1000000s of film writers in the film concern. What is amusing is that King himself does non anticipate a film version when he writes his narratives. Stephen King & # 8217 ; s composing manner is the chief ground why King & # 8217 ; s novels are about ever found on the large screen. King intentionally uses images in his novels that tell stories themselves. These images help heighten the narrative as the reader reads King & # 8217 ; s work. These images are 1s made by the reader and are limited to merely the images we see on screen. Of class some of the better King films do hold fantastic imagination that can be associated with the same image the reader would hold made in his head. One popular film that was based on King & # 8217 ; s work is Stand by Me, which has terrific illustrations of this imagination.

Base by Me is based on King & # 8217 ; s novelette & # 8220 ; The Body & # 8221 ; which can be found in Different Seasons. & # 8220 ; The Body & # 8221 ; is a coming of age narrative about a male child named Gordie Lachance. Gordie is faced with the decease of his brother, but is confused about his feelings. He knows he should be mourning for him, but he does non look to hold any contrite feelings towards his brother. The narrative is about Gordie and 3 of his close friends on a journey through the forests to happen a dead organic structure. Throughout their journey they face all types of obstructions and travel through a series of ups and downs. In the terminal they find the organic structure and face a climatic affray with the vicinity pack. The four male childs end up frightening the pack off and travel place without of all time stating anyone about their journey. The subject to the narrative is about losing one & # 8217 ; s artlessness, the transmutation from being a kid into being an grownup. The movie portrayed the subject really good and viewing audiences did non lose much if they have ne’er read the really novelette.

When a book transportations over to a movie much of the content is normally lost. It is a really tough effort to maintain everything that was in the book in tact and still portray the same consequence. When a reader reads a novel, they take their clip and they get involved with the characters and larn about them. When a spectator watches a film, the manager needs to pump out every bit much information as he can in two hours and still remain within the parametric quantities of the book. What happens most of the clip due to budget or clip restraint is non everything from the book is transferred over to the movie, which causes spreads in the narrative. Besides, managers need to happen histrions that can portray the feelings of the character and at the same clip finish the expression of the character. Sometimes one thing is sacrificed for another and the character is non as magnificent on screen as they were in the book. The fact that the book loses a batch of content prevents many managers from seeking to accommodate books into movie, but there are managers that attempt.

When composing a narrative and composing a screenplay the two are really much alike but at the same clip really different. A screenplay is fundamentally a film on paper. Everything that happens on the screen would be put into words, from camera motion to dialogue. For illustration here is the gap sequence to The Green Mile which was a film based on one of Stephen King & # 8217 ; s novel. Frank Darabont wrote the screenplay.

Murmuring VOICE ( V.O. )

You love your sister? You make any

noise, know what happens?

And off that atrocious voice, we

Cut TO:

INT. GEORGIA PINES NURSING HOME- MORNING ( PRESENT DAY )

A CLOCK RADIO spews the forenoon conditions study, suddenly

drawing us into the present with a anticipation of rain. Paul

EDGECOMB, tardily 70 & # 8217 ; s/early 80 & # 8217 ; s, aftermaths to another twenty-four hours & # 8230 ;

INT. PAUL & # 8217 ; S ROOM & # 8211 ; Morning

Paul stands at his bathroom mirror, meticulously buttoning

his shirt. He picks up a hairbrush, starts clean uping his hair & # 8230 ;

INT. CORRIDOR & # 8211 ; Morning

THE OLD AND INFIRM hangout these corridors like shades. A Woman

inches along on a Walker. A Man shuffles by with a peal

I.V. base. The floor is a limey, institutional viridity.

Here you can see how screenplays are really different. They are non written like normal novels, but alternatively hold more a book feel to them. The scenes are truly merely given right off or put off and so built up. They do travel inside informations about the set, small inside informations which help the complete image state its & # 8217 ; narrative. The screenplay focuses more on the action of the characters. Dialogue is set up like a book alternatively of utilizing citations. These are some differences between a screenplay and a narrative.

When composing a narrative, the writer evidently does non necessitate to state what the camera does or where the characters should be standing in relation to each other. When an writer writes a narrative it is fundamentally composed of the secret plan, puting, characters, struggle, and a subject. The writer most likely is non believing like a manager when they write their narrative. The advantage here is the writer can make deepness with their characters and you can acquire inside the caputs of the characters. The reader can see the ideas of the character. The writer does utilize a batch of description though when composing their narratives, which is much like a screenplay. On the other manus, duologue would non be set off like it is and the scenes would non ever be so apparent as a screenplay makes it. Basically the major difference between a narrative made for a film and a narrative made for a book is the construction.

King is rather perchance the best known writer in the film concern. Right now more than 30 Stephen King books or narratives have appeared as major gesture images or telecasting miniseries. ( Wukovits 63 ) This itself is a really astonishing effort on King & # 8217 ; s portion since whatever he writes seems to crush out 1000s of screenplays. For a screenplay to really do it all the manner into a gesture image is really tough. Person said, that a individual has a better opportunity rewriting a screenplay 19 times than they do composing 19 separate screenplays trusting one will be successful. ( Bergmooser 34 ) Why so are King & # 8217 ; s narratives so appealing to managers? For one his narratives are really entertaining, particularly his horror narratives. A successful screenplay must normally follow a mainstream standard in order to make good. For case the three major successful subjects in films are action/adventure, horror, and comedy. Screenplaies that are nice and fit into any one of these classs will most probably have a good opportunity at going a gesture image. Base by Me was a narrative that was really thought provoking. At this clip in America, audiences were looking for films that were less commercial and less obvious, so that is the ground King & # 8217 ; s non-horror narrative became a film. ( Field 12 )

Second, his composing manner is similar to a film writer & # 8217 ; s manner, which in bend can assist the manager can a better image. Besides, when King conjures up these images a batch of them have movie techniques which managers use to portray more than merely the ocular content. It goes along with the stating, & # 8220 ; A image is worth a 1000 words. & # 8221 ; Of class non to state that if anyone reads a King narrative they could turn around and do an Oscar-winning film. John Wukovits who wrote a life on Stephen King writes,

One job film managers encounter with King is that he composing manner is really

ocular & # 8211 ; the reader can easy visualize in his head what is happening on the page.

Directors experience trouble seeking to animate the images on movie, and when they

fail, the audience responds negatively. ( 63 )

King has images that help the narrative even further. These images can be complex and the mean spectator may non understand them, which is why some managers fail. With pattern and a good oculus, a spectator can take King & # 8217 ; s ocular imagination and understand the narrative better. This ocular imagination is an illustration of how King writes like a film writer since he is into depicting the image really good.

Other facets of King & # 8217 ; s composing manner really much resemble a film writer & # 8217 ; s manner every bit good. In an interview with King, King began speaking about the manner in which he wrote the novel The Shining. King said,

Each chapter was a limited scene in one place-and each scene was in a different

topographic point, until the really terminal, where it truly becomes a film, and you go outside

for the portion where Hallorann is coming across the state on his snowmobile.

Then you can about see the camera going along beside him. ( Bare Bones 127 )

Subsequently in the interview King goes onto say that when he writes his narratives after a piece he begins to see things in a frame like a film screen. ( Bare Bones 128 ) It & # 8217 ; s apparent to see that King has a film or an image set in his head when he writes. Screenplaies are all about imagination since it is a film fundamentally put to words. King takes this a measure farther by pull stringsing these images so the reader can acquire the most out of it. King utilizations techniques like presenting and bordering in his narratives. What is curious is that these techniques are found in movie and are non normally associated with authorship. King & # 8217 ; s & # 8220 ; The Body & # 8221 ; has illustrations of these techniques, which will be talked about subsequently.

Along with giving fantastic images for managers to work with, King & # 8217 ; s narratives themselves are really good written. One of King & # 8217 ; s favourite films of his ain books is Stand by Me which was directed by Rob Reiner. . Reiner stated the following about King,

King is a good author,

he pens wondrous complex characters and great duologue.

Yet when people adapt his books into films they tend to & # 8230 ; merely concentrate on the

Horror and the Supernatural-all the things that seem to be the most overtly

commercial. It & # 8217 ; s a sedate error because they lose many degrees of his work by

making the obvious. ( Wukovits 68 )

King can supply a batch of content for a manager to work with. Dialogue is done in a manner that it seems existent. The characters talk in a manner that reader would speak. He targets his audience and transportations that over to his duologue. The characters as good are 1s that are easy related to, but at the same clip have a batch of things traveling on at the same clip. For case, Gordie is the mundane child, but has issues with decease, his parent, school, and so much more. The manager can utilize all this content and since there is so much the manager has a batch of options. All these illustrations of King & # 8217 ; s composing manner and his focal point on imagination can be found in many of his plants.

Using & # 8220 ; The Body & # 8221 ; as an illustration of King & # 8217 ; s imagination, there are several illustrations that can be found that did and did non do it to the movie. For one King uses a technique called presenting with his characters. Staging is the manner the characters stand in relation to each other or other objects which is used as symbolism. For illustration, if a twosome was standing near to each other most likely the spectator could pick up they are in love and are happy. On the other manus if another twosome was standing 10 pess off from each other with their dorsums turned to each other the position could most likely sense some tenseness between the two. In & # 8220 ; The Body & # 8221 ; King uses elusive intimations to the reader about the characters & # 8217 ; presenting, normally done in one sentence or give voice really rapidly. Such as when the group of childs are walking, King may state who is in front or who is dawdling. King throughout the novel pairs up the four childs in the undermentioned manner: Vern and Teddy are normally together and Chris and Gordie are normally together. Even in duologue the braces can be found throughout the novel with Chris ever speaking to Gordie and so on. This partner offing up can be viewed as one group represents parents and the other kids. In the fresh Chris and Gordie are the 1s that do all the economy of Vern and Teddy, stand foring parents protecting kids. Chris and Gordie act like defenders, since they are the 1s that are truly turning up and Vern and Teddy act infantile. When the reader sees this image in their caput, this coupling can be seen and translated into the manner merely stated ; parents and kids. The coupling besides shows Gordie traveling from what he used to be, a kid, into what he is going, an grownup. Staging is apparent in other parts of the narrative every bit good.

At one point in the narrative, Chris begins to speak to Gordie about friends dragging him down. ( King 384 ) ) After this, King uses a different coupling for a short spot. King has the group lined up Chris, Vern, Teddy, and Gordie across with Chris and Gordie on the exterior. The four childs are walking down the way following the railway path. This image can be translated into what Chris was speaking about with Gordie. Vern and Teddy are conveying them apart. This usage of theatrical production was transferred into the film really good. Of class it may be a small harder to see the image for person who is reading the book, but King does a fantastic occupation of giving these intimations of presenting. Since King has his narratives set up in a frame already, he knows how to present his characters to acquire the most pregnant out of the image. Staging is merely one technique King uses ; there are other techniques throughout the narrative.

Another illustration of imagination that King uses is in his sub-story & # 8220 ; Stud City & # 8221 ; . King opens the narrative with a fantastic image of Chico, who is the chief character of the narrative. This opening image can be interpreted good plenty to larn a batch about Chico. King writes,

Chico stands at the window, weaponries crossed, elbows on the shelf that divides

upper and lower window glasss, naked, looking out breath obscuring the glass. A bill of exchange

against his abdomen. Bottom right window glass is gone. Blocked by a piece of composition board.

& # 8220 ; Chico & # 8221 ;

He doesn & # 8217 ; t bend. She doesn & # 8217 ; t talk once more. He can see a shade of her in the

glass & # 8230 ; ( King 313 )

In this image we can see notice foremost the broken window glass replaced with composition board. This symbolizes Chico & # 8217 ; s fiscal state of affairs, so we can larn he truly isn & # 8217 ; t good off financially. Then there is Chico himself and his position that tells a batch about him. First, we see that his weaponries are closed. This signifies that he is being unsociable and non really unfastened with his feelings. Normally when person is unfastened they will open themselves physically such as a clinch or something to that nature. Having Chico & # 8217 ; s weaponries closed shows that he does non desire to be with this miss right now or does non desire to cover with her. Second, we can see him looking out the window most likely we know he & # 8217 ; s thought of something. The rain outside represents what he is believing approximately. In narratives, storms are normally associated with negative things, such as immorality or bad forebodings. In this instance, we learn he is believing of his asleep brother. Another illustration of usage of storms is towards the terminal when the male childs really find the organic structure. As they get close and tenseness rises, so does the storm. This is merely one item that can be interpreted in this one image.

The following item we see is the miss in one of the windowpanes. The fact that she is in a window glass is a technique called framing. Framing is when a individual or object is set inside some type of bordering which could be made from anything such as door manner or even edifices in the background. She is set up in a box which is made from the window window glass. This technique is used to capture the spectator & # 8217 ; s oculus and convey attending to it so that it can be overlooked. The fact she is in the image and on the window gives the spectator the thought that Chico is believing of her in some manner as good. So far we have seen illustrations of presenting and bordering by King, so it & # 8217 ; s existent easy to see that he truly does hold his narrative set up in a frame already. King & # 8217 ; s images are 1s that are made for a ground.

Another illustration of King & # 8217 ; s imagination relation narratives is his deer scene. When depicting the cervid, King describes the cervid & # 8217 ; s facial characteristics really good. The reader can acquire a really good image of this cervid. King so states how Gordie is gazing at this cervid in awe. From this image we see can link the faces of the Gordie and the cervid together, so we know they are related. In the film, this is done in a manner so that the eyes are used as a common connection. The two images of Gordie and the cervid are switched back and Forth, but the eyes stay in the same country. Either manner, since we know they are connected we relate Gordie with the cervid. The cervid represents nature and nature is something that is guiltless and undefiled. When the cervid runs off that is the exact minute the subject of the narrative is conveyed, & # 8220 ; fliting artlessness & # 8221 ; ( Mayer 59 ) Since we connected the cervid with Gordie through imagination we know that Gordie is losing his artlessness with this journey.

Another movie technique that King utilizes in his work is the existent construction of the narratives. Like movies, the images are conveyed to viewing audiences in a manner that leaves the image in their caput. King knows how to put an image into his reader & # 8217 ; s caput really good. When composing his narratives King tries non to overburden the reader with excessively much of an image. King will allow the image set into the reader & # 8217 ; s caput so that they can take the image and construe it. For illustration, when composing The Reflecting King wrote it in such a manner that each chapter is set in one topographic point with a limited scene in that location and allowing each new scene have a different location. ( Bare Bones 137 ) This construction really much resembles the construction of a screenplay as seen above which gives more grounds of how King thinks like a manager. When reading the screenplay each scene would be set by its & # 8217 ; location foremost, so the reader would hold a scene in their caput. This manner helps the reader focal point on the image at manus and non be confused with multiple images. This manner is apparent in & # 8220 ; The Body & # 8221 ; every bit good, with each scene allocated to one chapter. Most of the clip when a new chapter is introduced a new location is introduced as good.

King likes to demo his images so that the reader can acquire more out of the reading, given the reader can construe the image. Analyzing images made from words can be hard at clip and might necessitate a good imaginativeness, but with King that undertaking is every bit difficult as it seems. Reading King & # 8217 ; s works, he fills them with adequate description to make a solid image in the reader & # 8217 ; s caput. It & # 8217 ; s up to the reader to take this image and learn from it, which does take pattern. Once complete, though, a reader can acquire so much more from King & # 8217 ; s work and even acquire more of an eerie feeling.

It is easy to see that King about thinks like a manager when he writes. He uses images that can be interpreted to state an even deeper narrative. King & # 8217 ; s narratives are truly words that create images that the reader sees. In cognizing King & # 8217 ; s usage of imagination, when reading any of King & # 8217 ; s narratives it is good to halt and really take in the image that King is depicting to us. The image that he gives us isn & # 8217 ; T merely for in writing intents but really to edify the narrative. A batch of symbolism can be found in the images King chooses, as explained above. King has a manager & # 8217 ; s mentality and uses images that a good manager would utilize. It & # 8217 ; s up to the reader to take these images and learn and analyse them to make full spreads in the narrative. A narrative can go much more complete when looking at a image instead than reading in between the lines.

Bare Boness: Conversations on Panic with Stephen King, erectile dysfunction. Tim Underwood and Chuck Miller ( New York, NY: Carroll & A ; Graff Publishers, 1992 ) 282.

Bergmooser, Mark. & # 8220 ; The Outsider & # 8217 ; s guide to selling to Hollywood. & # 8221 ; Writer & # 8217 ; s Digest Vol. 78 ( 1998 ) : 34.

Field, Syd. Selling a Screenplay: The Screenwriter & # 8217 ; s Guide to Hollywood. New York, NY: Bantam Doubleday Dell Publishing Group, Inc. , 1989.

King, Stephen. & # 8220 ; The Body. & # 8221 ; Different Seasons. New York: Penguin Books USA, 1982. 293-436.

Mayer, Geoff. & # 8220 ; Stand By Me, & # 8221 ; Metro ( 9/1/1992 ) : 56-59.

Wukovits, John F. Stephen King. San Diego, CA: Lucent Books, Inc. , 1999.

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