Screenplay Writing: A Kalhmang leh Hriat Tur Pawimawh Te

Filmmaking khawvelah Mizo te pawh kan intât lut thûk chho ve zel a. Tun hma deuha Mizo film kan hmuh thin te leh vawiina Mizo kutchhuak film te chu a in danglam hleih ta hle mai. Kan hmanrua-camera,lighting, editing softwares etc te pawh a changkangin, khawvel ram zau zawk leh changkang zawka filmmaker te nen a danglam tam ta lo. Tin, film changtu (actors) te ah pawh hmasawnna nasa tak kan hmu a, Mizo filmmaker te kut chhuak hi a zahpuiawm loh ta hle. Chu tih rualin, film industry-a thil pawimawh ber te zinga mi, a tel lova film tha awm thei miah lo leh film siam ngaihna awm miah lo, mahse, mi tam zawkin kan ngaihthah fo leh a pawimawhzia kan man fuh loh fo thin chu thawnthu (story) hi a ni a. Thawnthu tha tak a awm hmasak phawt loh chuan film tha a awm thei lova. Chu vangin, he paper-ah pawh hian film siam tura pawimawh hmasa ber, lemchan thu (script) leh a bik takin chu lemchan thu, a lem chan chhuah a nih theihna tura a ruangam ziah (screenplay writing) chungchang kan thlur bing dawn a ni.

Screenplay chu Engnge?

Screenplay ziah lama tawnhriat nei tha ber te zinga mi, Syd Field chuan, “Thu ziah kawnga thil harsa ber chu ziah tur hriat hi a ni a, a dawt leh chu a tha thei ang bera ziah dan zawn hi a ni,” tiin a sawi a.  Chu vang chuan, filma siam tura lemchan thawnthu (script) ziah hi thil awlâi a ni lova, screenplay tha tak nei tur chuan script tha tak a awm hmasak a ngai a, script tha a awm hnuah screenplay tha a lo awm a, chumi hnuah film tha chu a lo awm chauh thin a ni.

‘Script’ leh ‘Screenplay’ tih tawngkam te hi tawngkam thuhmun anga hman a ni fo thin a, danglamna pawh an nei tam lem lo. Chu tih rualin, heng thil pahnih te hi thil thuhmun chiah an nih lohna lai a awm a. Tâwi tê-a an inan lohna kan sawifiah dawn chuan hetiang hian a sawifiah theih awm e: ‘Screenplay chu script chi khat a ni a. Chu tih laiin, script chu screenplay ti-a sawi theih tur chuan tehkhâwng hrang hrang a tlin a ngai thung,’  Tin, script hi chuan a huam zau hle a, dawhsâna lem chan tur thawnthu atanga khawlaia lemchan tâwi entir tur thawnthu thlengin a huam vek thei a, ziah dan phung (format) mumal tak pawh a awm hran lem lo. Chu tih laiin, screenplay erawh hi chuan film leh television programme-a chan/chhuah tur lam a kâwk bik a. Screenplay-ah chuan script-a ziah lan ngai leh tul lem lo-light, channa hmun, hun etc, a tâwi zawngin, filma chan chhuah a nih dan tur chipchiar taka ziah lan a ni thin. Chu vangin, screenplay hi scriptin a huam tia sawi hi dik thei mahse, script zawng zawng erawh screenplay a ni thei lo thung. Tin, script ang lo takin screenplay chuan ziah dan tur kalhmang (format) mumal tak a nei bawk. Chu vang tak chuan filma chan tur lemchan thawnthu ziaktu chu ‘script wiriter’ ti a sawi a ni a, chu thawnthu, a lema chan chhuah dan tur ruangam duangtu chu ‘screenplay writer’ ti a sawi a ni.  A khaikhawmnaah chuan, screenplay chu thawnthu a ni lova, architect-in in sak dan tur a duan (blueprint) hmanga in sak a ni thin ang hian, film reng reng hi a ruhrel duangtu (Screenplay writer) in a duan (screenplay) hmanga siam leh chan vek a ni. 

Screenplay Ziah Dan Kalphung

Screenplay hian sawi tawh ang khan ziah dan kalhmang leh kalphung felfai tak a nei a. Internet atangin free software download tur hrang hrang-Trelby, Final Draft etc tam tak a awm a. Heng software hmang te hian awlsam takin screenplay hi format dik taka ziah theih a ni. Screenplay ziah dan kalhmang dik tak chu hetiang hi a ni: 

- A4 paper emaw, lehkhapuan vâr phêk pakhatah (phêk lehlam lehlamah an ziak meuh lo) 8 ½ “ x 11 letter size a chhut tur.

- Courier emaw, Courier New Font 12 size hmanga chhut tur.

- Screen-a lang tur chiah ziah lan tur a ni.

-Tun huna thil thleng/thleng mek (present tense) anga ziah vek tur a ni.

-Scene nambar ziah lan a ngai lo. Scene namber hi chu film shoot tan dawnah chauh ziah thin a ni

-Phek zat (page number) chu lehkha phek dinglam kil, chung lamah ziah tur a ni a, Title page erawh chu nambar pek loh tur a ni. Title page-ah chuan a ziaktu hming leh address leh, midang thuziak atanga lâk a nih chuan thu lâkna tarlan tur a ni a, a bak chu engmah ziah lan loh tur a ni.

-Screenplay ziah tan dawn reng rengin FADE  IN ti-a bul tan tur a ni a, a tawpnaah FADE OUT tia khâr zel tur a ni. Hemi dawt chiah hi slug line tih a ni a. Hetah hian khawi hmuna chan tur nge tih leh eng huna chan nge tih ziah lan tur a ni. Entirna: Inchhung. Mawia pindan-Zan (INT. Mawia’s bedroom-Night). Chu mi dawtah chuan scene description-a channa hmun awm dan, entirna atan, Mawia pindan chhungah chuan engnge awm a, light êng chu êng tha tak nge dim tur etc ziah lan leh tur a ni a, chu mi hnuah chuan dialogue/action in a zui leh ang. Action leh scene description te hi a chipchiar thei ang bera ziah lan tur a ni. 

-Scene tin chu scene description hmanga bul tan thin tur a ni a, dialogue hmangin scene bul tan loh hram tum tur a ni. Tin, mi pakhat thusawi rei leh sei tak (monologue) ziah loh hram tur. Chutiang a awm dawn chuan thiltih (action) hmangin emaw, scene description hmang emaw a kaihtawi tum tur a ni.

-Camera lek dan leh lâk dan chipchiar ziah lan a tul lem lo. Hei hi chu Director chan a ni. Screenwriter hna chu film Director film shoot dan tur (how to shoot) hrilh ni lovin, film shoot tur (what to shoot) hrilh a ni. 

A chunga tarlan khi screenplay writing kalhmang (format) tlangpui chu a ni a, a chipchiar chuan ziak lang lo ta mai ila (internet-ah screenplay script ziah sa chhiar tur tam tak a awm-author). Mahse, Mizoramah chuan khawthlang ram te nen kan kalphung leh tih dan in anlohna a awm a. Keini ramah chuan scriptwriter in a thawnthu a ziak a, chu mi hnuah Director-in screenplay a ziak leh tlangpui thin a. A hranpa in scriptwriter leh screenplay writer hi kan awm hrang lutuk lem lo. Chu tih rualin, a ziah dan kalhmang dik taka ziah hi a thawnthu ziaktu leh Director te tan pawh pawimawhna a nei a. A chhan chu, a tlangpuiin, format dik taka ziah screenplay phêk khat hi screen-a a lan chhung (screen time) minute khat nen a intluk tâwk chiah a ni.  Tin, screenplay hi phêk tam tak ziah a ni ngai meuh lova, a tlangpuiin, phêk 120 hi screenplay bu chhah zâwng a ni. Chu ti a nih chuan, phek 120 a chhah screenplay chu filma siam a lo nih chuan 120 minutes-a rei/sei film a ni dawn tihna a nih chu. Chu tih rual chuan, film thenkhat, entirna atan, The Lord of the Rings sequel ho te kha chu a screenplay phek 120 vel bawr tho ni mahse, a film erawh kha chu darkar hnih aia rei te a ni hlawm a. Mahse, film tam zawkah chuan ‘screenplay phêk khat hi screen time minute khat a ni’ ti a chhût hian a sual lo tlangpui. Chu vang chuan, scriptwriter leh Director tan pawh screenplay format dik taka script ziah hian, hun hman leh sem zai dan tur a chhût lâwk theih thin a ni.

Screenplay Ruhrel (Structure)

Sawi tawh ang khan screenplay hi film ruangam (blueprint) a ni a. Tin, thil hrang hrang rem khawm leh chuktuah khawm hmanga siam/ziah a ni. Screenplay ruhrel a lo chhuah theihna atana hmanraw pawimawh hrang hrang te tâwi tê tê in lo thlir ho leh ta ila:

1. The Three Act Structure:

Screenplay ruhrel pui ber chu Three Act Structure ti-a an sawi hi a ni a, he ruhrel chhungah hian ruhrel tenau zawk leh pawimawh tam tak a inzep a. He ruhrel hi kei pawhin Leitlang Pictures film pahnih, Rose: The Story Lies Within Season 1 leh Bangla No.9: The Truth Behind the Wandering Soul screenplay script ka ziahnaah pawh ka hman ber a ni. 

Film pumpui chu hmun thum-Act I, Act II leh Act III tiin hlâwm lian tak pathumah then hran a ni a. Tin, Act tin hi a bul tanna (beginning), a laihawl (middle) leh a tâwp (end) ti-a then hran leh vek a ni bawk. 

Act I

Act I hi Set Up/Situation/Establishment ti a vuah niin, phêk 120 screenplay-a a tir lam, phêk 10-25/30 inkar vel hi a awh tlangpui thin (film-a a tir lam 25 minutes/30 minutes tihna a nih chu). Act I chhunga phêk tir lam, phek 1-10 inkar hi Opening Sequence ti-a sawi thin a ni a. Hemi phêk inkarah hian a main role play tur (film-a hmun pawimawh chang tur) te chu thlirtu ten an hmelhriat hman tur a ni a. Tin, film thawnthu chu eng lam hawi nge tih chiang taka thlirtu te hriatthiam tir hman tum tur a ni. Chu bakah chuan, film kal zel dan tur-a thawnthu kal chak zawng (pace) leh eng hawi zawngin nge thlirtu te a hruai dan tur (tone) chin fel hman vek tur a ni.  Act I ah hian film-a pawimawh em em mai, plot (paragraph hranah kan sawifiah ang) chu a changtu te nungchang (character) leh chetzia (action) leh an nuna thil thleng hrang hrang (backstory) hmanga din fel tur a ni a. Chu mi hmang chuan thlirtu te ngaihtuahna va deng dawt/thâwng thut thei thil (inciting incident-Figure 1 a Act I chhunga ‘x’ hmasa ber khi) thlen tir tum tur a ni. A awmzia-ah chuan film reng reng, 25-30 minutes kan en tawh hnu pawha a film thawnthu leh a kal zel dan tur emaw, kan ngaihtuahna rawn ti buai leh khawih dawttu emaw a awm loh chuan tumahin kan enzui peih thin lo. Chu vang chuan, Act I hi film leh a thawnthu-a thlirtu ten hmuhnawm an tih leh tih loh hriltu a nih avangin a pawimawh hle a ni. 

Entirna: Rose Season I Act I bul tanna kha hotel glitz-a ruang chhar kha a ni a. Crime scene-ah khan film-a role pawimawh play tur SP Rinawma, changtu nu Amelia Lalnunpuii leh HPC Vice Chairman Thangsailova te kha an rawn lang nghal a. A film tantirh phat atang khan thlirtu te chuan a film chu tualthah chhuina lam hawi (crime, suspence, thriller) a ni dawn tih an hmu nghal a. Tin, chu hnu chhuinaah chuan tu te nge pawimawh dawn tih an hre nghal bawk a. Act I laihawl (middle) ah hotel glitz case chu tualthahna (homicide case) ni lovin, mahni intihhlumna (suicide case) anga tih tâwp a ni a, mahse, chanchinbu editor pakhatin ringhlelin a hnuaia hnathawk zinga pakhat, Faka chu a chhui tir a. Heti hian a film-a role pawimawh play tur te chu Act I tan tir leh a laihawlah thlirtu ten an hmelhriat vek a, film pawh chu eng lam hawi nge a nih dawn tih an hriatthiam nghal piah lamah, scene hmasa berah inciting incident-hotela tualthihna/ruang chhar lo lang nghal khan thlirtu te rilru a kap nghal a, zawhna tam tak a siam nghal bawk a ni.

Ti chuan Act I tâwp lam (end) ah chuan Act I turning point/plot point a lo awm leh ta a. He plot point hi film reng rengah chuan thil pawimawh ber te zinga mi a ni (Fig.1 Act I chhunga ‘x’ hnuhnung zawk). Helaiah hian a changtu/changtute hmaah chuan an chin fel ngai buaina/harsatna lian tak a lo awm ta a. Chu harsatna chu engti a chin fel tur nge ni ta ang? A chin fel dan kawng a awm em? Harsatna lian zawkah a luhpui mai ang em? Heng zawhna leh zawhna dang hrang hrang te chu he plot point hian thlirtu te rilru-ah a rawn siam a. Chung zawhna hrang hrang te chhanna, an buaina leh harsatna tawh an chin fel dan tur chu thlirtu te tana hmuh chakawm leh hriat nghahhlelhawm takin he plot point hian a rawn chhawpsak ta a. Tichuan, Act II ah min luhpui ta nghal a. He Act I plot point hian Act I chu a rawn khâr ta a ni. 

Entirna: Rose Season I a Act I plot point chu hmelhriat loh hnen atanga investigative journalist Lalfakzuala’n (Faka) hotel glitz tualthihna chungchanga thu thar, ngaihtuahna ti buai map thei a dawn leh case a lo chhui zui avanga sawrkar official pakhat hnen atanga an chanchinbu registration cancelsaka vauna phone call an editorin a dawn kha a ni a. An registration cancelsak an nih chuan an eizawnna a tâwp mai dawn si. Chu tih rualin, an case chhui chu homicide ni lovin, suicide a nih thu chiang taka rawn hrilhtu an awm bawk si…eng tin nge an tih tak ang?

Act II

Act II hi Complication/Confrontation/Development/Plot tia vuah a ni a.  Act II hian screenplay phêk 120 a phêk 30-90 inkar a awh tlangpui (Fig.2. en la). Act I ang bawkin Act II pawh hi hlâwm thum-bul tanna, laihawl leh tâwpna tia then hran leh a ni. Act II chhungah hian film-a a plot tam zawk chu zeh tel a ni thin a. Act I tâwpna (changtu ten buaina/harsatna an tawh) atanga chhunzawm chiah khan Act II hi a intan a, Act II bul tanna-ah chuan a main role playtu te chuan an harsatna tawh chu chin fel tumin hma an la tan ta a. Chu chuan Act II laihawlah min hruai lutin, an buaina chu chu ti mai a chin fel theih a lo ni lo mai pawh ni lovin, a aia harsatna leh buaina lian zawk an hmachhawn chho ta zel mai a. Helai tak, Act II laihawlah hian screenwriter chuan thlirtu te ngaihtuahna zawng zawng hip bet tlat turin a thawnthu kal chak zawng (pace) pawh a ti chak hret ang a, a changtu te chu duhthlan tur emaw, tih tur hautak tak tak, tih sual chuan chhiat vek theihna, tih fuh erawh chuan an him theihna tur ang chi plot (high intensity plot) te zep telin a changtu te thil tih (action) tam zawk pawh zeh a tum tur a ni. A chhan chu, Act II laihawl an en thlen hi chuan thlirtu ten film chu 25-30 minutes chuang an en tawh tihna a ni a. Chu vangin, a thawnthu a kal muan lutuk emaw, action a tlem lutuk emaw, inciting incident a awm loh chuan thlirtu te tan en zui zel a peihawm loh thin a. Helai bawr, Act II laihawl leh film-in a zahve a thlenna, midpoint (Fig.1 Act II chhunga ‘x’ hmasa zawk) hi film tam tak, a tantirh lama beiseiawm tak tak te beisei an phâk loh tanna tam ber a ni.  Chu vangin, screenwriter chuan helai bâwr a ziah thlen lai hian a film thawnthu kal chho mek chu a kal chak zawng (tempo/pace) hloh lo tura uluk taka a ziah a ngai a ni. Act II mid point atang hian a film leh a thawnthu chuan a tâwp lam min herpui tan chiah thin. Tichuan, Act I ang tho vin Act II tâwpah plot point a lo awm leh a, hetah pawh hian Act I plot point ang tho khan changtu te chuan harsatna an tâwk zel a, an dinhmun a tha tan dawn chiah ni a a lan lai leh, chu chu thlirtu te beisei leh ngaihdan a nih laiin, a hma aia dinhmun chhe zawk/harsatna lian zawkah an lut leh a, zawhna tam tak rawn pian chhuah tir lehin Act III ah min hruai lut ta a ni.

Entirna: Rose Season 1 ah khan Act II bul tannaah Faka leh Amelia te chuan case an chhui tan a, mahse harsatna hrang hrang-police in case file an pe chhuak duh lo, rinhlelh an tâwk…chu tih rualin, informant hnen atang chuan thu thar an dawn belh zel bawk si. Act II laihawlah Faka leh Amelia te chuan harsatna an tawh belh zel a, an case chhui avang chuan an nunna thlengin dinhmun hlauhawmah an din phah a, anhmahni thah tum tu in a veh tan ta a. Act II tâwp lamah Faka leh Amelia te chuan an case chhui laiah chuan thil dik lo an hmu chhuak chho tan a, hotel glitz case phêna thudik chu an hâi lang tan dawn ta niin a lang a. Mahse, Act II plot point-ah Faka chu mi pakhatin thah tumin a bei a, nikhaw hre lovin damdawiinah a awm ta a. Eng tin nge ni zel dawn le?

Act III

Act III hi Climax/Resolution/Conclusion ti a vuah a ni a,  film leh a thawnthu pumpui chuan a tâwpna (conclusion/resolution) a lo thleng ta. Act III hian screenplay phêk 120 a phêk 90-120 inkar a awh tlangui (Fig.2. en la). Act III pawh hi Act I leh Act II ang tho va bul tanna, laihawl leh tâwpna ti a then hran a ni a. Act II tâwpna-a a changtu ten harsatna lian tak tâwk a, beiseina nei lo rum rum khawpa an buai hnuah, Act III bul tannaah hian an chakna, theihna leh huaisenna zawng zawng sâwm khawmin, tha tharin an rawn thawk leh a, an hmelma te leh an harsatna te chu Act III laihawlah hneh chho leh ching fel chho vin, Act III tâwp lamah chuan an tum ber (goal/mission) chu an ti hlawhtling ta thin a ni. Chu tih rualin, Act III hi film leh a thawnthu tâwpna emaw, khâikhawmna emaw a ni satliah ringawt lova. Screenplay leh film-a ‘tâwpna (conclusion/resolution)’ tih awmzia chu ‘chin felna (solution)’ tihna a ni a, mawi taka film tâwpa scene shoot emaw, tâwp mâwl tawp ni lovin, a film leh a thawnthu pumpui (Act I atanga Act III thlenga changtu ten harsatna/buaina/tih tur etc an hmachhawn hrang hrang te) an chin felna, chu mi avanga a thawnthu leh a film lo tâwp tâkna hi a ni tih hriat reng tur a ni.  Act III conclusion fuh tâwk loh avang leh uluk tâwk loh avang hian film hmuhnawm tak pawh a tâwpah a ho zo vek thei tih hriat reng a pawimawh hle. Tin, plot point hi pathum chauh dah tur tihna a ni chuang lova, chu tih rualin, plot point a tam lutuk a, a thawnthu in rin loh dana min keuh (plot twist) nasat lutuk chuan a film hmuhnawm tih aiin thlirtu te rilru a ti buai (confuse) palh thei a. Chu vang chuan screenwriter chuan plot point kan zeh dan leh zeh hun thlan fimkhur a tul hle a ni.

Heti hian full length feature filma screenplay ziah dawna a ruhrel (structure) chu kan lo nei ta a,  tunah chuan chu ruhrel kan din chu hmanraw hrang hrang hmanga kan thuam mawi a lo ngai ta. Chung hmanraw pawimawh hrang hrang te chu tâwi tê tê in lo thlir ho leh teh ang.

1. The Four P’s:

Screenplay script tha reng reng chuan heng P pali (the four P’s) te hi a nei tel ngei thin: 

a) Protagonist:

Main character ti a sawi a ni bawk. Film-a langsar ber, main role playtu/a changtu ber, a story-a thlirtu ten an lo en bik tur leh a thawnthu pumpui inhlâwm khawmna. Protagonist hi mi pakhat chauh an awm tur tihna a ni hran lova, chu tih rualin, protagonist an tam lutuk chuan thlirtu te tan a story an hriatthiam loh phah (confuse) thei a. Chu vangin, screenplay kan ziahin protagonist kan hman tur zat hi uluk taka ngaihtuah hmasak tur a ni. Tin, protagonist chu a film thawnthu nen inkawp/kal kawp tlat tur a ni bawk (A changtu tana harsatna siamsaktu/thlentu misual chu antagonist/villain ti a sawi a ni)

b) Central Dramatic Problem:

Thawnthu, a changtu (character) te nena inzawm tlat a ni a, film plot kal zel dan tur hriltu ber a ni. A tlangpuiin, central dramatic problem hi Act I atanga Act III thlenga protagonist in harsatna/buaina chin fel ngai a hmachhawn leh chin fel tur hrang hrang a thawnthu ziaktu in a chhawpsak hi a ni ber. Chu chuan thawnthu chu hma lam a pan pui thin. 

c) Plot:

Protagonist-in filma hun hrang hranga harsatna leh buaina hrang hrang a hmachhawn te chin fel a tum dan, chêt a lâk dan, a thiltih etc hi plot chu a ni a, screenplay khâikhawmtu ber (spine)a ni. A tâwi zâwngin, screenplay writer in a thawnthu-a central dramatic problem a chhawp te protagonist a chin fel tir dan a nih ber chu. Plot hi thawnthu then/Act pathum-Act I (bul tanna/beginning), Act II (laihawl/middle) leh Act III (tâwpna/end of story) hmanga sawifiah/ziah thin a ni. Screenwriter chuan plot khat tha, awmze nei leh hlâwm tha siam chu a tih tur hmasa ber a ni.Plot kan rem khawm/siam dawn hian hriat tur pawimawh tak panga a awm a, chung te chu- opening sequence (a thawnthu bul lama a thawnthu kalphung leh changtu tur te hmelhriat tirna), climax/resolution (thawnthu tâwpna/chin felna), plot points (thlirtu te min deng dawt thei, thawnthu kal zel dan tur hriltu thil thleng), inciting incident (thawnthu-a thlirtu te rilru ti buai map thei leh a hnu thleng pawha an hriat zui reng tur thil thleng) leh mid-point (thawnthu in a zahve a thlen a, a tâwp lam pana a inher tanna lai) te hi an ni.  Plot hi film leh a thawnthu ti hmuhnawm (dramatic) tu ber a nih avangin ngaih pawimawh hle tur a ni. Plot a that loh chuan story leh film tha a neih theih loh tluk a ni.

Plot hi chi hnih- main plot leh sub-plots ti a then hran a ni a.  Main plot chuan a thawnthu-a a changtu ber/main role playtu te chêt dan, awm dan leh chanchin a chhuiin a zui char char a, film thawnthu-a a laimu ber a ni. Sub plots erawh chuan film thawnthu-a a changtu dang (supporting casts) te chanchin leh chêt dan etc bakah, thawnthu a thil thleng/chanchin dang hrang hrang te, a changtu ber awm dan/chanchin (main plot) nen a inzawm dan hrang hrang te a chhui/huam thung.  Main plot hrûl, a ep chiahah, main plot rawn pui turin sub-plots te hi kal tir an ni tlangpui thin a, a thawnthu tluana main plot leh sub-plot kal chhoh dan hi ‘plotline’ tih a ni. Sub-plots te hi film thawnthu-ah hian an pawimawh em em a, thlirtu te ngaihtuahna, zeldinna, rin lâwkna leh thlir lâwkna/anticipation (engnge lo thleng leh ang? Eng tin nge ni zel dawn? Tu ber nge ni ang? etc) siamtu ber a ni a, film hmuhnawm leh hmuhnawm loh hriltu pawimawh tak leh a thawnthu laimu (theme) kengtu tangkai tak an ni a, ngaihthah chi an ni lo (film hrang hrang te en a, plot events/plot points hrang hrang te lo chhinchhiah a, main plot leh sub-plot hriat tum leh an inkungkaih dan te uluk taka lo zir hi a tangkai hle).

Plot chungchangah hian screenwriter tan hriat tur pawimawh tak pakhat a la awm a, chu chu story (thawnthu) leh plot danglamna hriat hran/hriat chian hi a ni. Mi tam tak chuan hei hi kan hre hrang lo fo thin. Story chu screenwriter emaw, scriptwriter in a thawnthu chhunga thil awm dan leh thlen dan zawng zawng a indawt (chronological order) a a ziah chhuah hi a ni a, a changtu te chunga thil thleng/thlen dan zawng zawng chipchiar taka a indawt dana rin ngil tak (straight line) anga a ziah chhuah hi a ni.  Plot erawh chu ‘screenwriter emaw, scriptwriter in thawnthu chhunga thil awm te a duh dan anga a remkhawm dan-main plot, sub-plots etc a a then dan hi a ni thung a, hei hian film-a flashbacks (hun kal tawha thil thleng tih lan) leh flashforwards/prolepsis (hun lo kal tur/thil lo la thleng tur lo lan lâwk tir) thlengin a huam a ni.  Entirna atan, Leitlang Pictures film chhuak thar ber, Bangla No.9: The Truth Behind the Wandering Soul-ah khan a thawnthu-ah chuan Vanhmingliana’n a changtu nu, Lianmawii nena an inkâr chungchang leh an thah dan a sawi kha a thawnthu tâwp lamah a awm a. Mahse, film plot-ah chuan flashback-in a lang a, a thawnthu hmun hrang hrangah, a hun lai mil zela zeh/tih lan a ni thung. Tin, story chu a changtu te thil tih (action) in a siam, an chunga thil lo thleng an lo dawnsawn/beih lêt dan, tih hlawhtlin an tum dan, harsatna an sut kian dan etc ten an siam a ni a, chu chu plot hmanga lantir a ni thung. A awmziaah chuan, plot hian story kalhmang leh kal chhoh dan zawng zawng a kaihruai tihna a nih chu. Chu vangin, a thawnthu indawt dan rem fel hmasak vek hnuah plot chu siam (construct) chauh tur a ni.  Tin, a thawnthu bul lam plot-a kan thu zeh leh thawnthu tâwpna kha a inzawm ngei ngei tur a ni a, opening sequence-a a thawnthu kal dan tur kan lan tir kha a tâwp (climax/resolution)ah a rawn inching fel leh chiah tur a ni. Chu vangin, thawnthu kan ziah dawn reng rengin, ziah chhoh mawp mawpa a tâwpa a tâwp dan ngaihtuah chawp ai chuan, a tâwp dan tur hre sa thlap a, chu mi lam pan leh hawi chunga thawnthu ziah hi a pawimawh hle a ni.

d) Premise:

Premise hi thawnthu pumpui kalphung hriltu ber a ni a, thawnthu-in tarlan a tum ber, a thu ken laimu ber sawina a ni.  Tin, premise chuan kan thawnthu ziah chu eng lam hawi nge a nih, a thu ken engnge, engnge tar lan a tum ber tih te thlirtu te tan a tarlang thin. Entirna atan, Rose Season 1 ah khan SP khan tual a that a, amah chu case chhuitu ber a ni bawk si a. A thattu leh a chhuitu mi thuhmun an nih si chuan, eng tin nge tualthattu chu chhui chhuah a nih tâk ang? Hei hi Rose Season 1 a a thawnthu laimu chu a ni. Chu tih rualin, film thenkhat chu a film hming kha a premise ni nghal pawh a awm bawk a. Hollywood film zingah chuan Mars Attacks, Shakespeare in Love, The Lieutenant te hi entirna tha tak a ni. Screenwriter tha reng reng chuan premise pakhat, felfai tak nei leh behchhan chungin an ngaihtuahna (idea) leh thil tum te chu an lan tir thin a, thawnthu chhunga mi leh scene eng pawh, premise nena inkaihhnawihna nei lo chuan film-ah tangkaina engmah a nei lo.  Premise hi thawnthu ziah hma pawhin a neih lâwk sa theih a, neih lâwk sa loh pawhin, thawnthu ziah lai mek pawhin ngaihtuah chhuah chawp châng a awm bawk. Eng hunah pawh kan thawnthu ziah thu ken laimu chu nei/hre chhuak pawh ni ila a pawina a awm lem lo. Pawi ber zawk erawh chu thawnthu premise mumal nei lo kan ziak palh ang tih hi a ni. A chhan chu screenwriting hi zan khat emaw, ni khat thilthu-a zawh leh peih fel vek theih a ni lova, kâr,thla leh kum hial pawh a awh thei. Premise hian screenplay writer chu a thawnthu laimu atanga a pên bo palhna tur lak atangin a veng a, tin, plot siam kawngah te, protagonist chanchin leh central dramatic problem siam chhuah kawngah te thlirna tlang leh tum mumal tak nei turin a vawng reng thin a ni. 

A chunga kan sawi ‘P4’ te hi tang khawm leh inpui tawn, inzawm vek an ni a, screenplay ruhrel kilh nghettu ber te an ni a, screenwriter chuan story kan ziah dawn reng rengin, heng P4 te hi rilruah kan vawng reng tur a ni.

2. Theme:

Screenwriting hi thawnthu ziah chi khat tho a ni a, thawnthu bu ziak tu (novelists) te laka screenwriter te danglamna chu an thawnthu ziah chu chan (dramatize) tur a nihna hi a ni a. Chu vangin, kan screenplay ziah leh story ziah te chu thu ken mumal tak neih tir tum hi a finthlak hle. A thawnthu chu eng lam hawi (genre) pawh nise, thlirtu te tana thuchah hnutchhiah thei thu laimu ken tir hian a hnu zelah nghawng a nei duh bik thin. Story pakhatah theme pakhat aia tam pawh a zeh theih a, a lem nena en (visual medium) a nihna hian screenplay writer te chu kan mihringpui te hnena thuchah thiltithei (powerful) zawk hnutchhiah theihna remchang min siamsak tih hriat reng a pawimawh hle.

3. Dialogue:

Screenplay reng reng changtu te inbiak tawnna (dialogue) hmanga bul tan loh tur a ni. A chhan chu plot structure-a a changtu te awmna, an thiltih leh an hmachhawn tur (opening sequence) kan hriat hmasak loh chuan an thusawi tur ziah hmasak theih a ni lo.  Tin, film hi thiltih (action) leh mita hmuh theih (visual) hmanga lan tir a ni a, lemchanna dawhsân (theatre) erawh chu tawngkam (dialogue) hmanga lan tir a ni thung tih hriat reng a pawimawh hle. Chu vangin, screenplay writing chu hrilh/sawi (telling) ni lovin, entir/hmuh tir (showing) a ni a, chêtzia, hmel hmai lan dan (expression) etc hmanga thlirtu ten an hmuh a, an hriatthiam theih dawn phawt chuan tawngkam aiin mita hmuh theih chêtzia leh thiltih hmangin, dialogue tel lova lan tir hram hram tum tur a ni. Chu tih rualin, tawngkauchheh nalh tak hmanga dialogue telh erawh chuan film a ti hmuhnawm sawt thei bawk a. A awmziaah chuan, story-a dialogue kan telh dawn reng rengin, film a ti hmuhnawm sawt ang em? Chêtzia-a lantir aiin a fiah zawk em? A fuh zawk em? tih te ngun taka ngaihtuah hmasak phawt thin a pawimawh hle.

4. Scenes:

Scene hi film-a thawnthu lantir dan tur thliar sinna (break up) tê ber a ni a, changtute thiltih hrang hrang, plot hrang hrang hmanga lantirna remkhawmin a siam a ni.  Scene tin chu film pumpui plot then dan ang tho khan bul tanna (beginning), laihawl (middle) leh tâwp (end) ti a then hrang lehin, then tin tâwpah chuan a then dawt chiahah engnge lo thleng ang ti a thlirtu te rilru a zawhna hnutchhiah tum thin tur a ni. Scene hrang hrang indawt leh inlalâwn tha taka remkhawm hian film-a lem chan indawt dan ‘sequence’ a siam a ni.  Tin, scene siam dawn hian hriat tur pawimawh tak a awm a. Film-a scene reng reng hian a thawnthu chu hma lam panin a kalpui ngei ngei tur a ni a, scene chuan protagonist zin kawng leh buaina leh harsatna a tawhna kawnga thil thar min hmuh tir loh chuan tangkaina engmah a nei lo.  Scene chuan engnge tarlan a tum tih leh a thawnthu pumpuiah engnnge chu scene chuan pawimawhna leh tangkaina a neih tih thlirtu te chu hriatthiam tir vat tum tur a ni a, scene-a lan tir/tarlan tum ber thlen tumna (build up) atan hun rei lo thei ang ber hman tum tur a ni.   Tin, thawnthu kan ziah zawh hnu-a kan ennawn leh hunah pawh screenplay writer chuan, scene eng pawh tha tiin, ui hle mah ila, a thawnthu hmasawn zawnga kalpuitu leh a thawnthu-a tangkaina nei lo a nih chuan paih (cut) hmak tur a ni. Dialogue chungchangah pawh hetiang tho hian kalpui tur a ni. Chu mi piahah chuan, hun rei tak chhung ngaihtuahna sêng a, thawnthu han ziah hnuah hian a thawnthu kalhmang te hi theihnghilh daih a awl phian mai a. Chutiang kan lo tawng palh a, scene kan ziah zawm leh dawn chuan screenwriter chuan heng zawhna te hi mahni inzawh fo thin a pawimawh hle: 

i) Engnge ka premise?

ii) Engnge hetah hian lantir ka tum?

iii) He scene hian engnge lantir a tum ber?

Tin, screenwriter chuan thlirtu ten film an en zawh hnu pawha an rilru-a châm veng veng thei tur leh chu film an ngaihtuah chhuah châng apianga an hriat chhuah fo tur scene ropui, hriatreng tlâk, dangdai leh rilru khawih bik scene pahnih khat dah tel hi a finthlak hle. A chhan chu, film kan en reng reng hi tu mahin a scene mal (scene by scene) indawt dan kan hre rei ngai lova. Chu tih rualin, filma thil thleng eng emaw lai, theihnghilh theih miah loh kan nei thin. Chu chu screenwriter tha te thawnthu ziah danglam bikna chu a ni. Khawvela film ropui ber te zinga mi leh hming dai tawh ngai lo tur, Titanic film Director leh Screenwriter, James Camerona’n thiam tak maia scene pakhat, Jack leh Rose te lawng hmâwra ding a, tuifinriat zau tak hmachhawn a, tlai ni tla tur eng mawi em em in a chhun sen raih hnuaia an inhmangaihna a lantirna scene kha chu vawiin thlengin kan rilruah a la cham a ni lawm ni?! Kha scene leh thlalak hmu leh ngaihtuah chhuak apiang chuan a film, Titanic kha kan hre chhuak ziah zel zawng a nih hi!

5. Supporting Characters:

Filmah hian a changtu ber (main role playtu) te kiangah hian a changtu ber te thachhang dâwltu (supporting characters) te an awm thin a.Screenwriter-in a thawnthu-a supporting characters a mamawh zat chu a thawnthu kal hmang leh hawi lam (genre) in a hril thui hle. Heng supporting role playtu te hi an pawimawh hle a, film tam takah chuan a film ti hmuhnawmtu ber leh a thawnthu-a hmun pawimawh chang te pawh an ni hial thin. Chu tih rual chuan, thawnthu-a supporting character siam dâwn hian screenwriter tana hriat tur pawimawh tak chu supporting characters te hi main character te puitu an ni tih hi a ni. Supporting character te hna ber chu main character te kalna kawng lo en (light) a ni a, main character te aiin thawnthu-ah an dinhmun chu a lian in, a langsar zawk tur a ni lo. 

6. Genre & Twist:

Screenwriter chuan a thawnthu ziah chu eng lam hawi leh eng huang chhunga khung chi (genre) nge a nih chiang takin a hre tur a ni a, chu chuan a thawnthu ziah dan phung leh kalphungah te, plot, dialogue leh character siam dan thlengin thui tak a hril a ni.  Thlahrâng/râpawm (horror movie) lam thawnthu chuan thlirtu te hlau taka siam a tum hmasa ber a, fiamthu/nuihzatthlak (comedy) lam thawnthu chuan mi tih nuih/tih hlim a tum a, chutiang zelin hmangaihna (romantic) thawnthu te, science thiamna lam behchhan thawnthu te, indo behchhan thawnthu te hian kalhmang leh kalphung hran an nei theuh a. Heng genre hrang hrang nihphung leh kalphung te zir chiang a, a hriat chian hnuah hian screenwriter chuan a thawnthu ziah tur atanga thlirtu ten an lo beisei leh hmuh duh te a hrethiam thei thin a ni. 

Chu tih rualin, film thenkhatah chuan a film genre ang lo leh inmil lo zeta a thawnthu kalphung herh kâwi (twist/plot twist) a awm thin a. Hetiang twist/plot twist hi hman tangkai thiam chuan film ti hmuhnawmtu ber a ni thei a, tih sual palh erawh chuan a thawnthu leh film pumpui a ti chhe vek thei bawk a. Chu vangin, thawnthu kalhmang kan herh kâwi/her danglam dâwnin uluk taka ngaihtuah hmasak phawt thin tur a ni. Rose season 1 ah khan hetiang plot twist hi kan hmu a. SP Lalrinawma, tualthihna chhuitu ber kha a tâwpah rin loh lutukin a thattu a lo ni leh daih a. Chutiang bawkin, Bangla No.9 ah khan Vanhmingliana, a changtunu Lianmawii thian tha ber pakhat leh, a changtupa, Lawmkima leh a thianpa, Rema ten Lianmawii thih dan an chhuinaa an thurâwn lâkna ber leh pui nasa ber tu kha a tâwpah Lianmawii thattu a lo ni leh reng si. Plot twist hi Hollywood film thenkhatah pawh kan hmu fo tawh a. Quentin Taratino film siam Pulp Fiction ah khan a changtupa/changtunu (protoagonist/main character) an awm lova, horror movie, Scream  pawh kha horror genre film kan hmuh tam zawk, zan lama hmun reh leh thim deuh rep rupa thil thleng ni lovin, Director, Wes Craven khan chhûn khaw ên laiin, a changtu te chenna in chhunga thil thleng ang vekin a lantir bawk a. Tin, Netflix series lar tak, Steven Knight-a film, Peaky Blinders ah pawh khan tual an that ngei ni-a a lan hnuah leh thlirtu te pawhin a thi tawh ni a kan hriat vek hnuah, a dawt leh episode-ah te an mi thah kha dam tha takin a rawn lang leh a, flashback scene hmangin an mi thah chu that lova, that anga an lantir dan te a lo lang leh a. Hetiang hian plot twist hi hman thiam chuan film ti hmuhnawmtu leh a thawnthu ti ropuitu a ni thei a ni.

Screen Writing Chhâwng Thum te:

Screenplay ruhrel leh rawn thuam chaktu hmanraw pawimawh hrang hrang te kan sawi tawh a, tunah chuan screenplay ziak tura kan hmanraw mamawh te chu kan nei ta a, screenplay leh script kan ziak tan thei ta. Screenwriting zirtirtu, Professor Viki King chuan, “I thinlung atanga chhuak chu ziak la, I thluak hmangin ziak tha thung ang che,” tiin a sawi a.  Screenwiter tha ni tur chuan uluk taka kan ngaihtuah chhuah leh ziah chhuah tawh sa atangin paih tul apiang paih hmiah hmiah tura inrin nghal tur a ni (hemi chungchang hi chipchiar zawkin kan sawi leh ang). Lehkha ziah hrim hrim hi hna hautak leh thawhrim ngai tak a ni a, ngaihtuahna puak chhuak atanga ziah ngai screenplay pawh hi a danglam chuang lo. Chu vangin, screenplay writer tha ni tur chuan lehkhabu ziak mi te ang tho va taimak, thawhrim, tawrhchhel leh hun inpek thiam a pawimawh hle.  Lehkha ziah lohna chhan tur zawn aiin, ziah hram dan tur zawn hmasak zel hi screenplay writer tha ni tura a kailawn pakhatna a ni.

Sawi tawh angin, screenplay writing hi chhâwng thumin, hetiang hian then theih a ni: 

1. First Draft/Pre-Draft:

First draft chu screenwriter in thawnthu, a pumpuia a ziah chhuah vawi khatna hi a ni a. Film industry tawngkamah chuan hetianga screenwriter ten a thawnthu an ziah chhuah fel tum khatna hi ‘script’ ni lovin ‘counterfeit’tih a ni a,  thawnthu chu a la famkim lo tihna a ni. Writer I nih angin thawnthu ziah tur tha tak I ngaihtuah chhuak a, a thawnthu hawi lam leh kalphung tur fel tak I nei tawh a, I hmanraw mamawh tur hrang hrang (paper hma lama kan sawi ho kha) I la khawm/siam (create) fel tawh bawk a, chu mi hmang chuan thawnthu I ziak ta a ni. Mahse, sawi tawh ang khan, first draft/pre-draft hi chu ‘tih chhinna’ ang lek a la nih avangin, kan thawnthu phuah chu rin ngheh nghal bur (finalize) tum loh tur a ni. Kan hriat reng tur chu screenwriting hi intlansiak thui chi (marathon) ang hi a ni a, dawhtheih leh tawrhchhel a ngai tih hriat reng tur a ni.

2. Second Draft/Re-Writing:

Thawnthu kan ziah zawh (first draft) fel hnuah chuan kâr khat emaw chhung vel chu han chawl ila, kan thluak te han hahchawlh tirin, han hawi thawveng phawt ila, chu mi hnuah chuan kan thawnthu ziah zawh tawh sa chu ennawn a, ziak tha turin kan insang mar leh dawn a ni. Second draft-a kan thawnthu ziah kan chhiar nawnna-ah chuan kan thawnthu ziah chu heng tehfung hmang te hian uluk taka teh kan tum ang: 

i) Kan thawnthu ziah chu a mumalin a inzawm kim tha em? (coherence)

ii) Screenplay ruhrel leh plot kan siam dan hrang hrang te chu a dik in, a fuh tawk em?

iii) A changtute (character) kan siam danah dikhlel/tangkai lo a awm em? A aia tha zawka ziah dan a awm em?

iv) Kan thawnthu ziah chu thlirtu ten screen-ah en dawn ta se, a hmuhnawm ang nge a ninawm ang? Tin, tawngkam (dialogue) kan dah te chu a thawnthu-ah tangkaina leh pawimawhna an nei em?

v) Thlirtu te rilru a khawih ang em? An ngaihtuahna a luah thei ang em? Tin, kan thu ziah dan hmang leh tawngkauchheh zeh dan, a sap tawng takin, kan thu ziah dan ‘style’ chuan thlirtu te a hip ang em?

Heng zawhna hrang hrang te hi mahni inzawt chungin, uluk takin kan thawnthu ziahsa chu kan ennawn ang a, siam that ngai kan hmuh leh hriat zawng zawng chu siam tha in, paih ngai zawng zawng chu ui nei lovin paih hmiah hmiah tur a ni. Screenplay ziah dawna hriat reng tur chu kan rilru ngaihtuahna leh duh dan chauha ziah tumna (objectivity/objective mind) dah that thiam a pawimawh tih hi a ni. Kan duhtawka kan ennawn a, paih leh siamthat ngai zawng zawng kan tih fel hnu-ah midang ngaihdan lak leh ngei ngei tur a ni. 

3. Third Draft/Final Polish:

First draft leh second draft-a siamthat leh paih ngai te siam tha leh paih a, vawi eng emaw zat kan ziah that hnu leh midang ngaihdan kan lâk a, kan ziah that leh fê hnu chuan screenplay writing-a a chhâwng chung ber, Third Draft kan lo thleng ta a. Third draft-ah hi chuan first leh second draft anga thu mal tin, tlar tin, scene tin, dialogue tin etc, a tâwi zâwngin, a chipchiar thei ang bera endik leh ennawnna nei tawh lovin, kan tih ber tur chu a thawnthu chei mawi (cosmetic)- eng emaw laia ti ngaihnawm/hmuhnawm lehzual tura eng emaw belh ang chi lek kan ti tawh thung ang a. Duh tâwka kan thawnthu kan cheimawi hnuah chuan kan thawnthu ziah chu kan lo peih fel ta a, script/screenplay tak tak a lo ni ta a ni.

Chu tih rualin, screenwriter ten kan hriat reng tur erawh chu eng screenplay leh script mah hi film-a siam (shoot) zawh a nih hma loh chuan kan la zo pumhlum lo tih hi a ni.  Director te hian chhan hrang hrang avangin kan screenplay ziah ang diak diak, zaa za hian film hi an shoot ngai kher lem lo tih hriat tur a ni a, hetah hian screenwriter te pawhin rilru zau tak put tur a ni. Screenplay hi ‘film chan dan tur’ ni lovin, film chan tur duan chhinna (blueprint) chauh a ni kan tih tawh kha.

Screenwriter tha ni tura hriat tur pawimawh te

Screenwriting chungchang zau tak leh chipchiar takin kan sawi tawh a, a tlângkâwmna atan screenwriter tha ni tura hriat tur pawimawh ni a ka hriat te, a tlangpui chauh tarlan kan tum dawn a ni.

1. Movie/film siam hi engtik lai pawhin thawnthu (story) chungchang a ni a. Film thenkhat chuan thawnthu min hrilh a, kan rilru-ah ngaihtuahna thar min hnutchhiah a. Film thenkhat chu kan tana a thawnthu chu ziah ni awm tak, kan nun leh nihna nena inrem em em te pawh a awm. Screenwriter tha chuan screenplay a ziah dawn reng rengin, engnge thlirtute-ah hnutchhiah a tum/duh chiang takin a hre hmasa thin tur a ni. 

2. Screenplay tha nei tur/ziak tur chuan uluk taka ruahmanna (careful planning) leh ngawrh taka zir chianna (thorough research) neih hmasak a tul a, chu mi hnuah kan ruahman leh zir chianna behchhan chuan uluk taka ziah chhuah (execute) chauh tur a ni. Heng thil pathum te ngaihthah hi screenwriter tan chuan chhiatna bul intanna a ni.  Screenwriter tha ni tur chuan ruahmanna neih tam, zir chian tam leh ziah chhin tam a ngai tihna a nih chu. Thu ziah tha (quality writing) hi thu ziah tam (quantity writing) atang chauha neih theih a ni a, vawi khat ziahna atanga thu ziak tha mi neih/ziah chhuah nghal inbeisei loh tur a ni.

3. Screenwriter tha ni tur chuan ngaihtuahna (idea) neih that a pawimawh a. Chu tih rualin, ngaihtuahna tha ringawt hian amahin eng hlutna mah a nei lova, chu ngaihtuahna chu eng tin nge kan tih tih lai tak hi a pawimawh zawk chu a ni.  Tin, ngaihtuahna tha tih hian ngaihtuahna thar (new idea) tihna a ni kher lo. French screenwriter/producer, Francois Truffaut khan, “Ka thawnthu ziahna atana ka hmanrua te hi 20% chu mi chanchin, 20% chu chanchinbu, 20% chu ka hmelhriat te leh 20% chu ka phuahchawp atanga ka lâk khawm te an ni,” tiin a sawi a.  Hetiang chiah hian Hollywood Director ropui, Quentin Tarantino (Kill Bill Volumes hrang hrang, Django Unchained leh Inglorious Bastards film te siamtu) pawh hian film dang a en atang te, TV show a en leh comics lehkhabu a chhiar atang te in ngaihtuahna (idea) hrang hrang a khawn khawm thin bawk.  Hei hian ngaihtuahna thar hlak neih reng a harsatzia a ti lang chiang hle a. Screenplay ziak tur hian ngaihtuahna thar hlak chuan min daih kher lo thei. Chu vangin, screenwriter tha chuan kan nitin hun hmanna leh kan vela thil awm leh thil thleng te hi hman tangkai dan zawn thiam a pawimawh hle.

3. Screenplay tha tak ziak tur hian zan khat thil thu-a ngaihtuahna tha lutuk, midang ngaihtuah chhuah ve phâk loh, a tâwi zâwngin, thil mak (miracle) neih thut/a thlen beisei loh tur a ni. Screenwiter tha ni tura kal kawng hi 95% chu thawhrim, hlawhchham hlauh, nin, thinrim leh mahni inrin tawk lohna (self-doubt) in a khat a, 5% chiah hi ziah zel châkna leh ziak zel tura min fuihtu leh min turtu (motivation), min ti phûrtu a awm tih hriat tur a ni.  Mahse, he 5% chauh rinchhan chunga ti hrâm hrâm te kut chhuak hi khawvel film ropui leh lâr ber berah te a lo chhuak thin.

4. Screenwriter chu mipui vantlâng anga film hmuhnawm ti taka thlirtu ringawt a ni tawh tur a ni lova, film kan en pawhin chîk taka endikna mit (analytical eye) nen kan en thin tur a ni. Hei vang hian screenwriter tha ni tur chuan film hrang hrang (genre hrang hrang) en tam a pawimawh hle. 

5. Nitina kan nun leh awm dan tak tak (real life) a thil thleng leh thil nihphung dik tak te hi a ngialngana film-a tihlan dâwn chuan ninawm a chang thei. Entirna atan, mi pakhatin tawhsual an tawh dan chanchin ngaihnawm takin mipui hmaah a sawi a. Mahse, chu a thil sawi chu film-ah siam in, a changtu te chuan mipui hmaah bawk sawi leh ta se, film-ah chuan a ngaihnawm chu sawi loh, ninawm a chang thuai ang. Chu ai chuan tawhsual an tawh dan chu chêt phung (action) hmanga lantir/chan (dramatize) a tha zawk tihna a ni. Chu vangin, thawnthu-a thil thleng te a hmuhnawm theih dan tur ang bera ziah chhuah hi screenwriter hna a ni.

6. Screenwriter tha ni tur hian mi bik nih a ngai hran lo. Thu ziah hrim hrim hi taima taka zir a, zir thiam theih vek a ni. Screenwriter tha nih kan tum leh tum lovah a innghat ber zawk tihna a nih chu.

7. Thawmhnaw hâk tur duangtu (fashion designer) leh zaithiam (artistes) ten a hun lai mil bakah, hun lo la kal tura la lâr tur an lo suangtuah lâwk thiam thin ang hian, screenwriter tha chuan tun huna mipui sûkthlêk leh thangthar zâwk te rilru sûkthlêk tur âwm tlangpui man thiam a pawimawh hle. A bik takin, Mizo ten kan uar em em, hun bik nei thawnthu (period stories) ziak tur phei chuan tun lai mite rilru put hmang mil leh inrem tura siam rem dan zawn thiam a pawimawh hle a ni.

8. Screenwriter tha chu producer/director duh dan anga a screenplay/script siam tha fo turin a inpeih tur a ni a,  keipui sa hauh tung tur a ni lo. Tin, screenwriter tih tur chin a hre chiang tur a ni a, Director tih tur chinah a va inrawlh fo (râwn a nih lem loh chuan) a tul lem lo.

9. Screenwriter hna pui ber pakhat chu changtu te leh an channa hmun leh hun (situation) hmanga thu tam thei ang ber sawi tum leh tawngkam (dialogue) tlem thei ang ber hman tum a ni.  Screenplay chu mita hmuh/en chi (visual medium) a ni tih hriat reng tur a ni a, thawnthu bu anga chhiar tur a ni lo tih hriat reng a pawimawh hle. Screenplay dialogue reng reng chu awmze nei lo a awm tur a ni lo. 

10. Screenwriter tan chuan movie en tam mai bakah screenplay script chhiar tam a pawimawh (google-ah Hollywood film lar tak tak screenplay script chhiar tur tam tak a awm).  

Screenwriting-ah hian ziah dan hmang phuah sa (formula) emaw, dan nghet zawm bur tur a awm hran lova, rawtna hrang hrang a awm chauh mai zawk a ni.  Chu vangin, screenplay writing chungchang kan han sawi zawng zawng te pawh hi Mizo ten screenplay tha zawk kan ziah theihna tur leh screenwriter tha zawk kan lo neih zel theihna atana rawtna hrang hrang a ni zawk a ni.

Bibliography

Dethridge,Lisa. (2003). Writing Your Screenplay. New South Wales: Allen & Unwin

Field, Syd. (2005). Screenplay: The Foundations of Screenwriting. New York: Random House

________. (2006). The Screenwriter’s Workbook. New York: Random House

Horton, Andrew. (200). Writing the Character-Centred Screenplay.London: University of  California Press

John, Costello. (2004). Writing a Screenplay. Vermont. Trafalgar Square Publishing

Nelmes, Jill. (2014). “Some thoughts on analysing the screenplay, the process of screenplay writing and the balance between craft and creativity.” Journal of Media Practice. 8:2, 107-113

Lumet, Sidney. (1995). Making Movies. New York: Vintage Books

Russin, Robin U & William Missouri Downs. (2012). Screenplay: Writing the Picture. Los Angeles: Silman-James Press

Web Sources

https://dafilmschool.wordpress.com/2012/08/06/methods-and-styles-of-script-writing/. Accessed on 23.2.2021

https://www.squibler.io/blog/write-a-script-screenplay/. Accessed on 3.3.2021

https://pro-essay-writer.com/blog/screenplay-format. Accessed on 3.3.2021