Writing Plays/Screenwriting/research

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Question
QUESTION: Hi
How did you do the drone research for Ciao Ciao Bang Bang your latest thriller?

ANSWER: Hi Demetrius,

Previously in my writing career I relied upon books from the library, and books I bought. Then the internet came along in the 80's and 90's and gradually information of all kinds accumulated on the internet, and slowly I switched from paper info to pages on my computer screen.

At the same time as current and recent information built up in the cloud, inputting and scanning older books, the leader of which was the Gutenberg Project that digitized thousands of public domain books. For any writers who are writing about times past, Gutenberg is a gem.

The internet of today is a monster collection of search engines that can deliver almost any information that exists.

For my upcoming novel CITIZEN OF AMERICA, I am writing in the era of the war of 1812, and I have been able to access writers and journalists who wrote in that period of time, so I get authentic reality to work with.

As for CIAO, CIAO, BANG, BANG, a screenplay, I worked on the story with the Australian screenwriter, David Kenny, who wrote the screenplay. Both of us tapped the internet for military and espionage secrets, and especially CIA methods. We were able to use futuristic military drone technology as a key thread in the screenplay.

In the "old" days, I would have interviewed experts on the topic (time-consuming, sometimes expensive) in order to get what I needed. Today, almost always, a writer doesn't need to leave his or her desk to back up the verisimilitude of a story.

Barry

---------- FOLLOW-UP ----------

QUESTION: Thanks for the reply,Barry.
But I noticed that in Citizens of America you also have characters  speak in accents. Some may be another race and/or dialects that may
Not be spoken today. How is this accomplished?

Answer
Accented dialogue can be tricky, especially for beginning writers, who often overdo the accented words, and thus annoy the reader. I have been guilty of doing that myself.

The ideal is to establish the sense of accented or dialectical speech. I have (now and in the past) known people personally who were Irish and German; therefore in CITIZEN OF AMERICA, I felt quite comfortable in portraying those accents.

For those writers who don't have contacts, internet videos might be a way to get a sense of a character's English use. Failing that, I'd recommend seeking out an appropriate foreign speaker and taping a conversation that could be used later.

Barry

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Barry Pearson

Expertise

I`m a credited writer on nine feature films. My latest movie, IRON ROAD, which stars Peter O'Toole and Sam Neill, opened as feature, then aired as a four-hour miniseries on network television. Sun Li, the Chinese star, won the best actress award at the Roma Fiction Fest recently. www.ironroadthemovie.com) I’ve produced more than 300 episodes of television drama, including 13 episodes of Deepwater Black, and 106 episodes of Katts & Dog (Rin-Tin-Tin, K-9 Cop in the U.S.). I've answered over 1200 All Experts questions!

Experience

I've been in the business of writing and producing feature films, television series, and MOW's for over 20 years. You can check me out at this URL http://www.createyourscreenplay.com/aboutbp.htm

Publications
You can find my books on Amazon. See DON'T LET ANYONE STEAL YOUR STORY (http://tinyurl.com/StoryStealers)which is a stripped-down readable summary of copyright, full of entertaining anecdotes and real-life examples. Read about the true horror stories that clearly show you what you need to do to avoid the misfortune of having your literary material stolen. Find out: * How to take simple inexpensive steps to protect yourself, before, during, and after you write your literary work. * How copyright law applies to writers of literary works. * How literary works enter public domain, and how you can use it to your advantage. * What aspects of literary works are protected by copyright, and what aspects are not protected. * How to create documentation that will prove your copyright entitlement in the event of an infringement on your rights. * How you can protect yourself if you are contracted to write for television. You’ll also get a FREE sample of an Option and Purchase Agreement, a contract used in the acquisition of rights in a literary property—a contract that you and your lawyer can customize for your property. Written by a writer, for writers, Don’t Let Anyone Steal Your Story will help you protect yourself against plagiarists and anyone else who might infringe your right of sole ownership. ------------- Also on Amazon, my book of four short stories, THE TWENTY-BUSHEL RACER. A man’s redemption from bitterness enables him to become a loving father. A teenager discovers the importance of his attachment to the people in his life and the place where he is growing up. A man, who has for years considered himself a coward and a betrayer of his comrades, musters the courage to stand up against a pair of would-be assassins. Two young men, who grew up in the same town, meet unexpectedly, reminisce about a girl they both loved when they were boys, and unveil a truth that changes both their lives.

Education/Credentials
Master of Arts degree (Drama)

Awards and Honors
Among my awards are Best Screenplay, Best Picture, at the International Film & Television Festival of New York for THE LIFE AND TIMES OF EDWIN ALONZO BOYD, Best Screenplay, Feature Film, at the 12th International Film Festival in Sitges, Spain for PLAGUE, and a Special Jury Award, Feature Film at the San Francisco International Film Festival for PLAGUE.

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