Corner of Broadway and Spring Street
I'm currently working on the script of On the Jellicoe Road. I'm not sure where it's going to go from here, but getting a solid first draft completed will be the focus of my year. I think it's important for a scriptwriter to stamp their vision onto the story before it goes to producers, directors and actors. So far I'm happy at the pace I'm working and am just a bit over the first act. It's strange because you have to get to know your characters again and tell their story in visuals rather than first person narrative (trying very hard not to rely on voice over).
I'm constantly asked what the main difference is between writing a script and a novel. Personally, I think novels are more indulgent. You get away with a whole lot more. You can send your characters away on a road trip (Josie and Michael Andretti's trip to Adelaide) whereas in a film script you have to be aware of budget and the expense involved in certain scenes. In a novel you can explain what's going on in someone's head whereas in a script you have to show it. In a film script you can't write "Josie sits in a classroom wishing that Sister Louise would stop speaking" because the first question you will be asked by a reader of a script is "How will the audience know what Josie's thinking?". So scripts are all about showing. When I wrote Alibrandi I was asked constantly by producers and script assessors why I had included a particular scene. There seemed to have to be more than one reason to include it. Was it giving more of an insight into the character? Was it pushing the story further on rather than repeating something we already know?
Regardless, I'm enjoying it, especially telling the story of the kids in the past.