#Editing Transcribing and writing scripts

[cozmicclown]

HAHAHAHAHAHHA

Okay so yesterday I discovered the hidden text under the welcome home audio files and got upset that I wasted so much time listening and transcribing them. But today! While I was writing out the Howdy & Sally script I copy and pasted from the site, I was using MY transcription of the audio, and guess what!? THE HIDDEN TEXT ISNT ACCURATE!! Let me make it clear I’m not mad, that it isn’t exact, I’m excited because that means the transcriptions I’ve already made of the audio are accurate to what was said! And not a huge waste of time! Wooooooooooo. My transcripts will still go much faster tho since MOST of the hidden text is right and written but still! VALIDATIONNNNNNNNNN

[rnoonsetter]

FINALLY starting writing that video essay ive spent the last month and a half reading one single book for

[blocksgame]

Tips on character voices when writing fic

This is written in mind for people writing fic in MCYT/QSMP/DSMP/Life series/etc kind of fandoms. But if anyone finds it useful for anything else, well then, hell yeah.

Character voice is big in all, uh, fiction, and mimicking it in any fanwork is big. But I think it’s especially big in these fandoms where the voices are so distinct – it’s usually how a Real Person Somewhere (the streamer) talks, versus something very scripted that you’d see in a TV show or novel. And it can be a big difference in your character sounding generic versus really feeling true to the original.

Listen to a bunch of your subject talking. If you want to write a character well, watch vods from their point of view, or episodes where they show up a bunch. Take note of what they say and how.

2. If you don’t know how to start doing that: try literally writing down what they say. Transcribe an actual exchange in fic-format. You probably won’t want to publish a literal exchange from canon, but it will give you a sense of how to physically write what they say.

3. If you do this (or just pay attention to how they talk), you will get a lot of: Stumbling, pauses, repeating words, filler words, weird sentence constructions, fragments, etc. I love em! Here’s something that comes through in improv much more than in novels or movies: Most people, even very charismatic people, are not very eloquent when they speak. Writing out conversations or sentences will give you a sense of the unique and delightful way in which your subject is not eloquent. vvvvv way more under cut vvvvv

(People use a LOT of filler/etc when they speak. It’s reasonable to cut back on this if it’s interfering with a nice-looking or readable result. I believe this is the eternal struggle of people who write transcripts – you want the transcript to be accurate, but there are also a lot of things you can obviously simplify and not lose the meaning. So you’ll end up falling somewhere on this spectrum either way. But I do think a lot of mediocre/generic fic dialogue is very stylized – it doesn’t sound like your guy because your guy literally wouldn’t say that. They would say it worse and more confusingly.)

(I’m serious, if you’ve never sat down with a short non-completely-scripted clip or real conversation or whatever and just written out exactly what was said, do it. It will make you better at writing.)

4. Wonda-cat made a really incredible list [link] of characterizing speech patterns for the Dream SMP members. But you can also do your own reconnaissance and come up with your own patterns, common phrases, etc.

5. You do not have to get EVERYTHING right. You’re not going to, like, get so deep into the speaker’s brain that you can produce “exactly what they would have said if they were somehow in your fic.” That is impossible. You’re just trying to evoke a character, and if you get a few turns of phrase to ring true, you’re doing great.

6. A lot of these people are popular because they are hilarious. Include jokes. Yes, even if your thing is angsty or serious. A lot of the most serious lore I can think of from, e.g., the Dream SMP or 3rd Life or the QSMP - the really story-defining, life-and-death moments - were absolutely hysterical. If you’re writing characters who are usually funny, then add some humor. It can heighten angst via contrast and a sense of realism. Ask yourself what a funny streamer would make jokes about if they were possessing a character in this situation.

7. Some people have the mystical ability to “hear” character voices in their head, and read things in their voice. If you can, do this with all of your dialogue during the editing process. This won’t always get you there, but sometimes it can catch things that sound wrong by invoking "that's really hard to imagine them saying". If you don’t have this power, try recruiting a friend who does.

8. So there’s dialogue and then there’s narration that’s still from a character’s point of view. I’ve mostly given you tips about dialogue, but a lot of this is also true for narration. IMO, narration is less about phrasing things the way the subject would, and more about recreating the way they think. I don’t have concrete rules on how to do this, but here is my wisdom:

You can get eloquent again - narration is more of an abstract and artistic process than dialogue.

Spend time with your subject’s source material.

Pay attention to what they notice and care about. How do you think they think?

Don’t be afraid to get weird with it.

That last one also applies to all art ever.

9. MCYT tends to give you a great boon you don’t see in other media: what the speaker says to their chat/audience when nobody else is listening. This can be incredibly characterizing even if you’re writing a story where people don’t have chats. It’s your person talking about their thought processes and feelings! Mine that shit.

10. Some questions that might help guide both characterizing narration and dialogue (that you’d get from dialogue):

How open are they about their feelings?

How often do they lie? What do they lie about?

What kind of metaphors do they use, if any?

How quickly does their mood change?

How can you tell when they’re in different moods?

What kind of things do they pay attention to?

How formal is their speech?

11. Finally, this is a little odd, but I find it’s much, much easier to write a character that sounds good if I, the author, like them and am rooting for them at least a little bit. If a character needs to be there who you don’t love, try to love them. Or at least get a sense of what other people love about them. It just makes everything else easier. I swear to god.

Happy writing out there!

[ariettaspod]

Fun fact: since I hand-write the majority of my scripts, the next stage is Ariettas production is a big ol transcribing jam of getting everything from paper to computer

Which is definitely a hassle, but also works pretty effectively as an editing first pass, as it makes you sit down and consider such important questions as:

“Do I really need all these words?”

[raomarketingpro]

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4o

[withasideofshakespeare]

A Rundown on the Absolute Chaos that is First Quarto Hamlet

IMPORTANT UPDATE: This post may be getting a revamp with better citations—my cross-checking source was scrubbed from the internet entirely???

I said I was going to sleep before writing this. I did not. Here it goes anyway!

TL;DR: Multiple versions of Hamlet were printed between 1603 and 1623. Across these multiple texts, we get some fairly major differences in characterization and plot disparities. The First Quarto is most infamous for its oddness- which includes shockingly brief soliloquies, mother-son bonding, wild spellings of everyone’s names, and deleted/adapted scenes with major plot/character implications.

A full (long!) rundown is below the cut, including sources, transcribed Q1 content and lore, further Hamlet lore, and my fan theories! Feel free to skip the bits you don’t care about, I got way too into this.

Note: *I have updated these lines to their modern spellings for ease of reading

What is the First Quarto? What’s a “quarto”? Who wrote this?!

All pressing questions, my dear dedicated fan of William Shakespeare’s hit play Hamlet! 

The First Quarto was published in 1603 and was (presumably, as implied by the name) printed as a quarto (a little book created by folding printed pages into four leaves- eight pages). It is much shorter than the later publications and is presumed to be transcribed from memory by an actor (probably the guy who played Marcellus), who may have been a member of a touring troop of actors performing the play. 

Q1 is not necessarily considered a first draft of the play, but something of a “pirated” (by memory) copy that was later amended by Q2 and F1.

Are you saying that Hamlet comes with the stageplay equivalent of a “deleted scenes and extra credits” movie disc?

Yes! And not just one, but many: Quartos 1-5, the First Folio, multiple foreign language versions, and more! Your typical modern copy of Hamlet is a combination of the Second Quarto and First Folio. 

Q2 (published in 1604 or 1605) is considered more “Shakespeare-accurate” than Q1- it seems to be a manuscript actually written by Shakespeare combined with an edited version of Q1′s Act 1 text rather than just some guy’s memory of the play. F1 was published much later (1623) and is some combination of another playhouse manuscript and possibly Q2 (but which—Q2 or the manuscript—had more influence in the creation of F1 is unclear). Q2 and F1 have tons of differences in wording and each has some content that the other doesn’t, but what you need to know here is that a typical modern script is an F1/Q2 combo (because editors didn’t think the public would want like six different scripts- fair enough.)

Quartos 3-5 are slightly edited versions of Q2. There seem to be a few other versions in different languages (like the German version) which share points from a variety of the above sources. 

So... Q1? How is it any different from the version we all know (and love, of course)? What do the differences mean for the plot?

We’ll start with minor differences and build up to the big ones.

First of all, the language! Everything is spelled to the discretion of the transcriber, which produces gems such as “for England hoe.”

These spelling differences also extend to the characters! Laertes is “Leartes”, Ophelia is “Ofelia”, Gertrude is “Gertred” (or sometimes “Gerterd”), Rosencrantz is “Rossencraft”, Guildenstern is “Gilderstone”, and my favorite, Polonius gets a completely different name: Corambis. 

(This goes on for minor characters, too. Sentinel Barnardo is “Bernardo”, Prince Fortinbras of Norway is “Fortenbrasse”, Voltemand and Cornelius- the Danish ambassadors to Norway- are “Voltemar” and “Cornelia” (genderbent Cornelius?/hj), Osric doesn’t even get a name- he is called “the Bragart Gentleman”, the Gravediggers are called clowns, and Reynaldo (Polonius’s spy) gets a whole different name- “Montano”.)

The stage directions include more detail! Ex: Ophelia enters in Act 4 with a lute to play along to her song of insanity. (*Enter Ofelia, playing on a lute, and her hair down, singing). (Some bits are missing direction though! In Act 3, when Hamlet calls upon Horatio to watch Claudius on the night of the play, there is no instruction for Horatio to enter the scene. He appears without being asked.)

There is a slight reordering of scenes in Act 3. Claudius and Polonius go through with the plan to have Ophelia break up with Hamlet immediately after they make it (typically, the plan is made in early II.ii and gone through with in III.i, with the players showing up and reciting Hecuba between the two events). In this version, the player scene (and Hamlet’s conversation with Polonius) happen after ‘to be or not to be’ and ‘get thee to a nunnery.’ I’m not sure if this makes more or less sense. Either way, it has minimal impact on the story.

Many lines, especially after Act 1 are considerably altered or shortened. Everyone is a lot more straightforward and (sometimes) a lot less iambic pentameter-y and poetic. A few examples: Laertes’ usually long-winded I.iii lecture on love to Ophelia is shortened to just ten lines (as opposed to the typical 40+). Polonius (er... Corambis) is still annoying and incapable of brevity, but less so than usual. His lecture on love is also cut significantly! Hamlet’s usual assailing of Danish drinking customs (I.iv) is cut off by the ghost’s arrival. He’s still the most talkative character, but his lines are almost entirely different in some monologues, including ‘to be or not to be’!  In other spots, however, (ex: get thee to a nunnery!) the lines are near-identical. There doesn’t seem to be much rhyme or reason to where things diverge linguistically.

And then the big differences: the additional scene and Gertrude’s promise to aid Hamlet in taking revenge. Act 3, scene 4 goes about the same as usual with one major difference: Hamlet finishes off not with his usual declaration that he’s to be sent for England but with an absolutely heart-wrenching callback to act 1, in which he echoes the ghost’s lines and pleads his mother to aid him in revenge. And she agrees. Here is that adapted scene (without line breaks for some reason- ah, formatting!):

*Gertrude: Alas, it is the weakness of thy brain which makes thy tongue blazon thy heart’s grief: but as I have a soul, I swear by heaven, I never knew if this most horrid murder: but Hamlet, this is only fantasy, and for my love forget these idle fits.

Hamlet: Idle, no mother, my pulse does beat like yours, it is not madness that possesses Hamlet. O mother, if you ever did my dear father love, forbear the adulterous bed to-night and sun your self by little as you may, in time it may be you will loathe him quite and mother, but assist me in my revenge and in his death, your infamy shall die.

Gertrude: Hamlet, I swear by that majesty that knows our thoughts and looks into our hearts, I will conceal, consent, and do my best what stratagem so ever thou shalt devise.

Hamlet: It is enough mother, good night. [to polonius] I’ll provide for you a grave who was in life a foolish and prating knave.

*exit Hamlet with Polonius’s body*

Despite having seemingly major consequences for the plot, this is never discussed again. Gertrude tells Claudius in the next scene that it was Hamlet who killed Polonius (Corambis, whatever!), seemingly betraying her promise.

However, Gertrude’s admission of Hamlet’s guilt (and thus, betrayal) could come down to the circumstance she finds herself in as the next scene begins. There is no stage direction denoting her exit, so the entrance of Claudius in scene 5 may be into her room, where he would find her beside a puddle of blood, evidence of the murder. There’s no talking your way out of that one…

And now the most drastic change: the bonus scene. After IV.vi (act 4, scene 6), (but before IV.vii) comes this scene*, in which Horatio informs Gertrude that Hamlet was to be executed in England but escaped. Here it is with modern spellings but without line breaks (man, I hate formatting things!)

Enter Horatio & Gertrude 

Horatio: Madam, your son is safe arrive’d in Denmark. This letter I even now received of him, whereas he writes how he escaped the danger and subtle treason that the king had plotted, being crossed by the contention of the winds, he found the packet (letter) sent to the king of England, wherein he saw himself betray’d to death, as at his next conversion with your grace, he will relate the circumstance at full. 

Gertrude: Then I perceive there’s treason in his looks that seemed to sugar o’re his villainy: but I will sooth and please him for a time for murderous minds are always jealous. But know not you, Horatio, where he is? 

Horatio: Yes, madam, and he hath appointed me to meet him on the east side of the city to-morrow morning. 

Gertrude: O, fail not, good Horatio, and commend me a mother’s care to him, bid him a while be wary of his presence, lest that he fail in that he goes about. 

 Horatio: Madam, never make doubt if that: I think by this news be come to court: he is arrive’d, observe the king and you shall quickly find, Hamlet being here, things fell not to his mind. 

 Gertrude: But what became of Guilderstone and Rossencraft? 

Horatio: He being set ashore, they went for England and in the packet there writ down that  doom to be performed on them pointed for him: and by great chance he had his father’s seal, so all was done without discovery. 

Gertrude: Thanks be to heaven for blessing of the prince, Horatio, I once again take my leave, with thousand mother’s blessings to my son. 

Horatio: Madam, adieu.

If Gertrude knows of Claudius’s treachery (”there’s treason in his looks”), her death at the end of the play does not look like much of an accident. She is aware that Claudius killed her husband and is actively trying to kill her son and she still drinks the wine meant for Hamlet!

Now, the moment we’ve all been waiting for! My thoughts! Yippee! 

Clearly, my favorite gift this Christmas was my copy of The Riverside Shakespeare, gifted to me by my grandma. I don’t think I’ll ever sleep again now that reading this is an option. (This play has me head-over-heels, goddamn!)

Anyway, here are my thoughts on Q1 (as abridged as I can get them, seeing as this post is already nearly 2,000 words long.)

On Gertrude: WOW! I’m convinced that she is done dirty by First Folio and Q2! She and Hamlet have a much better relationship (Gertrude genuinely worries about his well-being throughout the play.) She has an actual personality that is tied into her role in the story and as a mother. I love Q1 Gertrude even though in the end, there’s nothing she can do to save Hamlet from being found out in the murder of Polonius and eventually dying in the duel. Her drinking the poisoned wine seems like an act of desperation (or sacrifice? she never asks hamlet to drink!) rather than an accident.

On the language: I think Q1′s biggest shortcoming is its comparatively simplistic language, especially in ‘to be or not to be’*: (again with the formatting!)

Hamlet: To be, or not to be, aye, there's the point. To die, to sleep, is that all? Aye, all: no, to sleep, to dream, aye, merry there it goes. For in that dream of death, when we awake, and borne before an everlasting judge, from whence no passenger ever returned, the undiscovered country, at whose sight the happy smile, and the accursed damn'd. But for this, the joyful hope of this, who’d bear the scorns and flattery of the world, scorned by the right rich, the rich cursed of the poor? The widow being oppressed, the orphan wrong'd, the taste of hunger, or a tyrants reign, and thousand more calamities besides, to grunt and sweat under this weary life, when that he may his full quietus make, with a bare bodkin, who would this endure, but for a hope of something after death? Which puzzles the brain, and doth confound the sense, which makes us rather bear those evils we have, than fly to others that we know not of. Aye that, O this conscience makes cowards of us all. 

Don’t get me wrong, it’s good, but it doesn’t feel quite complete, which makes sense for Q1- that’s the vibe I get overall from this version: it’s Hamlet at an earlier point in the play’s journey to becoming its modern renditions and compilations. 

On the ending: The ending suffers from the same effect ‘to be or not to be’ does- it is simpler and (imo) lacks some of the emotion that F1 later emphasizes. Hamlet’s final speech is significantly cut down and Horatio’s last lines aren’t quite so potent- although they’re still sweet!

*Horatio, to Fortinbras and co.: Content yourselves, I’ll show to all, the ground, the first beginning of this Tragedy: Let there a scaffold be reared up in the marketplace, and let the State of the world be there: where you shall hear such a sad story told that never mortal man could more unfold.

Horatio generally is a more active character in Q1 Hamlet. This ending suits his character here: He will tell Hamlet’s story, tragic as it may be. It reminds me a bit of We Raise Our Cups from Hadestown. 

Overall, I loved reading this version and highly encourage you to do the same! (Two PDFs are linked below!) The spelling is hard to overlook at times, but if you can get through it, this is a fascinating interpretation of the same Hamlet we love and it’s worth a read! There’s so much more I want to get into but I absolutely must sleep, so adieu for now!

And finally, my sources:

The Riverside Shakespeare (pub. Houghton Mifflin Company; G.B. Evans, et al.)

Q1 PDF (Internet Shakespeare) https://internetshakespeare.uvic.ca/doc/Ham_Q1/complete/index.html

***THIS SOURCE NO LONGER EXISTS.*** Q1 PDF (STF Theatre) https://stf-theatre.org.uk/wp-content/uploads/2016/02/HAMLET-%E2%80%93-the-1st-Quarto.pdf (cross-reference for lines) 

[randomnameless]

Localization discourse has started to rear its head again because of some Funimation localizer defending a line from Dragon Maid but it really got me thinking, I feel like so many people are so quick on demonizing anyone who doesn't like localization changes as pro-GG when it's much more simpler. People don't hate localization changes because of the message itself but rather because it's not what the character is saying 9/10 and it comes off as calculated and cynical. I feel like it's kind of a direct consequence of transformative fandom, with the whole "I'm going to write the story the way I want it to be and fill up the spaces" but instead of a fanfic it's with the original source material.

Pro GG?

What is GG? AI?

I remember this argument of the "it's not what the character is saying" and people being pissed because they couldn't get the "right" script - and tbh, after reading some arguments here and there, localisation always comes with necessary changes/adaptation to the text, let it be grammatically or to convey ideas from a language to another, so if you want a 100% faithful script then... better start to learn the language lol

With Funimation though...

The Shinchan earlier post was telling enough of my opinion about drastic changes that aren't used to transcribe a meaning or convey an idea to a foreign audience, it's just... erasing the source material and swapping your own ideas on them.

Like, uhhh

Funimation acquired the Shin-chan US license in 2005. Funimation's dub takes many liberties with the source material and was heavily Americanized. Many sexual references, dark humor, and references to then-current popular American culture were added, including many jokes about subjects such as Jews, terrorism, and Viagra. Characters were given significantly different personalities and new, previously non-existent backstories. For instance, Shin is refused an allowance, on he basis that he could use it to buy drugs (crystal meth), his schoolmate Kazama ('Georgie Herbert Walker Prescott III' in this dub) was an absurdly hawkish ultra-conservative Republican, the unseen father of Nene (known in the dub as "Penny") was suggested to be physically abusive towards both his wife and daughter, Principal Enchou was rewritten as a half Romani, half Peruvian man with a complicated, checkered backstory that includes a stint as an accident-prone magician, The kids' teacher: Yoshinaga-sensei (known in the dub as "Miss Polly"), was rewritten as a kinky and often domineering nymphomaniac,

The earlier Vitello and Phuuz dub also edited some jokes and/or what was considered indecent exposure like shin's buttocks and tried to "occidentalise" a few references, but it wasn't like straight up changing what a character is or their personality!

No doubts funimation was "authorised" by whoever had the rights of the franchise to lolcalise and edit it as they did but it just comes out as a "why did they rewrite that stuff like they did", to make more money, to make another "mature cartoon" like Family Guy expy, idk.

And to be honest... I don't really care, because I grew up with the Vitello Dub and read some manga chapters of Shin-chan, so I know what the manga/anime (sure, the dog wasn't named lucky but shiro!) is supposed to say and/or be about.

I don't agree when you say those "lololcalisations" are a consequence of the transformative fandom in general, transformative works have existed since... forever lol (some dude wrote in the early middle ages (grégoire de Tours?) how Franks are descendans of Achilles or something to explain how kickass his king and his people are like, at this point, he's writing a self-insert OC story, right?)

But in modern times, there used to be a clear (?) divide between what was transformative work and what was canon - 50 Shades of Grey sort of started as a Twilight fanfic, but it became its own thing and no calls it a Twilight adaptation or "Twilight" anymore.

The Aeneid? Despite what devoted fans wants the world to believe, is "just" a fanfiction, aka someone writing about the characters he """loves""" no matter how OOC they are. It's a Fodlan fanfic and treated as such. Or should lol.

Still, if in a fanfic, Flayn can apologise for being born as a lizard because having lizard blood means she's automatically evil and oppresses humanity due to the fact she exists, it's only a fanfic. It's not something I like, OOC as fuck, but okay, moving on. Rhea eating ketchup is my own hc, also OOC since we don't see her eating any in the games, same thing - but fanfics are OOC by essence because they're a transformative work !

As I said, okay, moving on.

But when what is supposed to be as close as "canon", albeit translated, dips in the same "OOC" territory?

Sure, Eng!Raphael will say "I" instead of "ore" to refer to himself - and yet, imo, if professional localisers (at least the people picked by the company to bring games to an international audience!) have some sort of leeway with canon, their work is inherently transformative - since they're localising -they are still bound by some rules, unlike a fanfic author, because the aim of their work is not the same.

When you write a fanfic, you write it for yourself, to tell the story you want.

Of course it depends, like the funi shin chan dub showed, but usually, I think, when you are a professional localising something (a manga, anime, book, tv series, myth, story, anything!) you are supposed to only bring "necessary" changes to the source material to bring this source material to the "targeted audience".

And it's kind of hard to determine at what point is a "change" necessary or not - back in the 2000, "Jonouchi" had to be changed in "Joey" because, supposedly, non japanese children wouldn't be able to understand/connect/watch/idk a show with a foreign name (even here in France, we got "Petit Coeur" aka Small/Little Heart for... Piccolo in the early 90s!) - but now in the 2020s Midorima isn't dubbed "Mike".

(even if 2013 saw a localised Fates edit "Suzukaze" to "Kaze" for reasons as foggy as Fodlan's 10k years of lore)

And we of course have the notion of "targeted audience" - here in France, in the 90s, basically any "animated cartoon" was supposed to be targeted for children, like 3 to 10 years old. Which is the reason why we got lunar dubs for Hokuto no Ken and City Hunter (no "brothels", but instead, "vegetarian restaurants"!).

Yugioh was dubbed for a younger audience than, I guess, what was the targeted audience for the manga (even the original anime, regardless of the dub or not, feels like it was made for younger "children" than the ones who would read the manga!).

And this is where I wanted to come with the modern "transform the source material!" lolcalisations - are they "heavily" edited because they target a specific audience?

Like... the funimation Shinchan dub was obviously not aimed at children the manga, or even the original anime, hell even the Vitello dub, were targeting.

It's almost as if we're not talking about "bringing this definite thing to random people", but "finding/tweaking random things to definite people".

Take Fodlan's lolcalisation, especially Treehouse/Pat's.

NoA was the only regional branch to have, on the official website, something like "the Church controls Fodlan".

Through the 4 (already 4!) years of coverage, some people are still finding dub exclusive lines that portray the CoS as "BaD" or in a more negative light than the original text. Pat completely missed (or was it on purpose?) Rhea's character, so Leigh had to dub Rhage, when Supreme Leader was scrubbed off her most, uh, dubious personality traits (tfw no information campaign anymore :( or calling Rhea a Nabatean as an insult :()

Why? Why those changes? Is it because Pat/Treehouse didn't want to bring the game to the US, but wanted to bring this game to the "Dany revolution yas slay kween" crowd + the "organised religion especially catholicism BaD" crowd? Or because they thought bringing "a game" to this crowd would bring more money than to bring "Fire Emblem Three Houses" to the general US crowd? So they "reworked" FE16 to have messages that would attract this certain crowd ?

(and apparently it worked, iirc the US sales made up for 50% of FE16's sales, so it was very popular (and profitable!!))

The Pat/Treehouse changes weren't "necessary" to understand the source material, or try to find similar references (a trip to a hot spring in Shinchan was replaced with a trip to Paris, because children who might not be familiar with japan might not know what is a hot spring, or what a "trip to the hot spring" is supposed to be), so why were they made?

Is it like the Funimation dub? To reach specific people, even if the meaning and essence of the original material is lost?

In a nutshell, I don't think localisation companies (Treehouse or Funi) work in a vaccum, if they can lolcalise so much, it obviously means they got the authorisation of whoever has the rights to the original source material (maybe even the creator themselves!) to "edit" the content...

But that's what I came to regret the time where localisation, even if they had westernised names and more westernised refs, wasn't that "free", as in, Funi and Pat/Treehouse write their fanfic of Shinchan/FE16 ? Sure, why not, I mean, everyone can write a fanfic. Can I get a peak at the original source - edited as necessary because i'm not reading in the original language and I might not catch all references - please? No, because the only thing available is either something I cannot understand, or a fanfiction that takes liberties, as fanfic do, with canon.

Take Shinchan.

OG : Shin is a preschooler who has a dog named Shiro - meaning white - because his dog is white.

Vitello dub : Shin is a preschooler who has a dog named Lucky.

Funi dub : Shin wants an allowance but his parents are afraid he will buy meth and he has a dog named Lucky.

Remove the "old school" Vitello dub, and either Shin is a preschooler who named his dog "white" because the dog is white, or Shin is... a young child who receives money but lives in an area where he could buy drugs.

I can't understand the OG material, and I know the Funi one is a fanfiction, so what should I do? Treat this fanfic as canon, or, learn the language/try to understand the material by myself using dubious tools like translating apps? Or am I cursed to forever miss on Shinchan, even in the 2000s, aka an era where people can translate and localise movies from one language to another, but apparently for this one manga/anime, it's not possible unless it's lolcalised? Snowhite was turned into "Blanche-Neige" but the story is mostly the same than the one told in the US, but for Shinchan, I can only get the "Family Guy" version that isn't told in Japan?

I remember there was a controversy about localisation (when the thing that sparked that controversy wasn't even localisation related!) where some people, annoyed with the "liberties" they have with their dub version, became intense and rude and want to see localisers as "mere" translators...

And it escalated to have some localisers basically saying a game they localised is "their take" on a story - which is true, because each translation/localisation works with the bias of the translator/localiser, even if they try to be as neutral as possible, they can't completely remove themselves from their work -

Still, in FE16, Pat'n'Treehouse removed the "Supreme Leader uses propaganda" mention. Why? Is it their bias talking, they don't want her to "look bad"? But the script, the game wants the player to know she uses "information campaigns". Pat's "take" is she doesn't use it, but as a player, can't I be offered the choice to make my own take after seeing the script that mentions it, or not? Is Pat the one who directed the script, and wrote it as the "main thread" that links everything in the game (regardless of Fodlan's consistency lol), or was it Kusakihara/someone else?

If pat arbitrarly "removes" this part of the script, but I see it because I play in Japanese/Chinese/Korean/heck maybe other languages whose dub wasn't overseen by Pat, can it be said I played the same game as the players who played with the Pat dub/script?

Pat's CF!Felix calls Dimitri a monster, OG CF!Felix calls him a man -> thankfully we can count on fans to find stuff like this out but, again, why this bias against Dimitri in CF - that comes here from the lolcalisation, and not from the original text?

Why is it there? What if someone wants to play, and hopefully, understand, not Pat's "take" on their relationship in CF, but the writers/developer's? Is that someone fucked, or kindly asked to learn japanese (aka to do Pat'n'Treehouse's job?).

I don't really have The Perfect Solution (tm) anon to the general localisation discourse, at one point I was on the "just translate" fence, but when you understand a pun or a reference, and how it connects to something else, the game/book/anime/movie you're watching takes another level and it's much more enjoyable!

And yet, growing up with 4Kids and seeing shit like Treehouse butchering stuff, or hearing about Funimation Shinchan is... disheartening.

The only thing I can say is I'll always be rooting for dual audio, let it be for preferences but also to get at least what is easily understandable to everyone (I mean intonations, shocks, laughs, etc etc) and a glimpse at what the game/moving/anime is supposed to be enjoyed, especially with story heavy scripts like the FE series - while reading subs, because even the script is translated/localised, at least with the audio, it's easier to spot "lolcalisations".

And let's not forget the most important lol

The Fandom itself!

Let it be for FE, Tales or anything else, what I find fascinating (on Tumblr but even on redshit and SF once upon a time!) is how fans will be able to compare scripts, people familiar/fluent/who know a language will be able to spot the changes, and inform anyone who wants to be informed in the community that, say, Xander and Marx are pretty different characters, just like Jp!Effie and "I love to eat"!Effie.

Of course sometimes there will be misinformation (remember the Dimitri is rude because he uses the omae pronoun?), but I still find fascinating how, faced with ridiculous lolcalisations, fandom itself - aka part of the people who were supposed to be the targets of said lolcalisation - tries to "correct" and remove the unecessary edits. There are still people who dgaf about what was lolcalised from what wasn't, but even if it's just a consequence of the lolcalisation growing more and more unrestrained/unchained to the source material - it makes fandom engagment all the more precious and fascinating.

Like, you have real people basically combing the script and/or providing a translation - for free! - to help other fans, when some lolcalisers are paid to... edit and "lolcalise" the script some fans want to see.

And so, we're back to square 1 : who is the targeted audience of Funi's Shinchan or FE Treehouse?

The players/watchers?

FE Fates was, I suppose, ultimately lolcalised for a """western"" audience", aka an US one because no one gives a fuck about the rest of the world - and yet, assuming a majority of fans are from the US, said lolcalisation was mocked/ridiculed and ultimateld decried by part of that audience from who the game was lolcalised.

Some people (I've seen a redshit post about it today!) claim the lolcalised changed aren't made for the audience, but, much like a fanfiction, those changed weren't made to be more palatable to an audience, but were made for themselves - aka to push some agenda (see redshit's theory about funi pushing a "woke" agenda in their dubs and subs when it doesn't exist in the og scripts).

And to be fair, with FE16's US exclusive "Church BaD and controls the world!!!" + "Dimtri is not a man but a monster!", idk what Treehouse was trying to do, push their "organised religions BaD" agenda and "Supreme Leader is right so let's make her opponents BaD to highlight how right she is" bias? - but I can't help but wonder if it was indeed the case, and given how Pat sucked as a voice director, if the localised!version wasn't just some sort of trolley Treehouse used to convey their ideas, regardless of what the game wanted to say.

I mean, it's still fascinating, to this day, nearly 5 years after the release of the game, that we still find "Treehouse exclusive" lines, or how FEH who's still running, also has "Treehouse exclusive" lines for Fodlan characters that absolutely don't match the non global, aka, jp lines, let them be written or spoken - putting on the tinfoil hat, I wonder if Treehouse or whoever oversees the localisation isn't deadly afraid that if they don't pay extreme attention and/or rewrite anything related to Fodlan, global!players will realise that they were fed "Pat's Fire Emblem Treehouse", instead of FE16, thus takes extra care to comb and/or rewritte every line/dialogue that could make a global player think twice and note that this thing they're reading/hearing of in FEH (or even Engage!! See Dimitri's lolcalised line about people of different races living together!) is completely different from "Pat's Fire Emblem Treehouse".

Tl;Dr because I ranted and disgressed and idk where am I anymore with this post lol :

I think there's a difference between fandom's transformative works - done for fun, as a hobby! - and some lolcaliser's transformative works - they're paid for that and aren't supposed to bring a fanfiction to the audience, at least not as localisers ; so I wouldn't blame "fandom" for the fuckery that happened (Funi's shinchan is more than 17 years old!) and is sadly still happening.

On the contrary, given how fandom (at least some part of it) actively refuses to accept the lolcalised "fanfiction" - to the point of doing translation work! - I think fandom is the reason why this discourse is happening.

[tofueggnoodles]

My Drama CD translation workflow

The first Drama CD I ever translated is One-Day Store Manager. That was in July 2022, nearly two years ago. Until recently, the workflow was simple, at least on the surface. I listened and either typed out the first thing that came to mind or looked up what I heard in jisho. If the sentence was long and complicated, I would listen to it at half-speed a few times, transcribed it into romaji and tried to figure out the translation as I stared at the transcription. Obviously, it was a slow and painstaking process.

During the past few years, rapid progress has been made in the fields of machine transcription and translation. Even back in 2022, I had the nagging feeling that things could be sped up.

Last April, I finally did it. After scouring the world wide web, I cobbled up some python scripts to do a couple of things.

1. Automatic transcriptions from mp3 files. Yep. This removes the major pain in the neck. However, as they say in computer science, garbage in garbage out (GIGO). The quality of the transcription depends on the audio quality of the mp3 file, of course. The amount of corrections I have to make is correlated to the bitrate. If the quality is good, I only have to correct about five percent of the transcription.

2. Automatic translation. Not so great, but it takes away the hassle of translating simple sentences and stock expressions. It is equivalent to copying and pasting into Google Translate site, but in bulk. Again, the GIGO principle applies. Hence the importance of making sure the Japanese text makes sense in the first place.

I will use a short scene from Kyouka Suigetsu to demonstrate the advantages and the pitfalls of automation in Japanese to English translation.

The speech to text output is a chunk of text, sans punctuation and indication of who is speaking. The script is particularly bad at transcribing our guy’s names. Hakkai is either eight floor, destruction, eight times or Bajie. (The last is not technically wrong, though.)

Here is how the translation looks like. Of course, it is also a chunk of text.

Here is the edited transcription. I corrected the obvious mistakes and indicated who is speaking at the beginning of their lines.

Again, GIGO. The output of machine translation this time is much better. It is not perfect, but I find it so much easier to re-translate with the Japanese text just below each line.

Still, the fact that even the automatic translation from the automatic transcription makes more sense than a translation made by a human being nearly twenty years ago is a testament to how far the transcription and translation technologies have come. The fears expressed by some professional translators are far from unfounded.

The day Google Translate matches a human translation more than ninety-five percent of the time is the day yet another job becomes obsolete thanks to AI. (Yes, I’m quite pessimistic about this. Why are we letting AI do all the fun stuff [art, writing, translation] and none of the soul-crushing or dangerous jobs?)

Advertisement: I made a wordpress blog for putting my BL Drama CD translations. If you happen to be a BL Drama CD fan, you can compare my manual translation to the one using this semi-automated workflow (ongoing, first disc completed).

[casualbluebirdmentality]

do YOU hate Uther Pendragon?

do YOU wish Arthur had gone through with his attempted regicide in S2E8?

...then good news! i wrote a 700-smth word one-shot about Just That!

If you wanna hear me rant about the bonkers way this one-shot came to be, that's down here lol

(...Well, I guess it's not really that bonkers, but to me, it was just such a random little thing that spiraled into something really weirdly motivational, so I think I need to yell the story into the void to process lmao)

Ok so-- yesterday morning, I saw this post in the merlin subreddit (which I'd practically just joined):

And there weren't any in the comments at the time that I saw it, so I responded with this:

Which was quite insane of me for two (2) reasons.

Firstly, it's bc I write a lot privately, but I've never actually posted anything, and it's never been fanfic, but... idk man i just hate Uther. (What more does it take, really, to make someone leap into the unknown and submit themself to the mercy of the internet at large, than to just hate a fictional man So So Much?)

Anyway the second reason is that I tend to over-analyze/labor over every sentence I write, and edit it to death WHILE writing it, so I take so long to write literally anything. But, I wrote this shit:

First thing in the morning (and un-medicated, at that)

In 2-3 hours, a large chunk of which was spent transcribing the entire og fight scene (all dialogue and actions, every notable sword swing) from the moment Arthur first says "I know… what you did to my mother" and Uther orders the other knights to leave the room, to Arthur finally being talked down and gasping out an "Oh lord... I'm sorry" after collapsing to the floor-- all of which was just over a thousand words, even in the most bare-bones, script-ish language. (I only ended up using ~100 of those words as the lead-in to the fic lmao)

And then people liked it?!?!?!?!?

Don't get me wrong, it's not some magnum opus or anything, but like... Idk y'all it just absolutely made me day. I'd been pretty down on myself recently about my writing abilities (and other things lmao) but this made me feel SO much better, like-- damn, maybe this could work out as a career eventually if I ever finish my wips lol, rip. And it was so nice to just write something short without over-analyzing/-editing constantly that I'm DEFINITELY gonna continue doing/posting one-shots like that, which is also really good bc it gives me something more manageable to work on so I can get writing practice in more regularly. Idk y'all I'm just having a great time rn!!!

[velvet-cupcake-games]

I am sorry to ask again, but im concerned about the amount of writing you are saying you are going to be doing.

I understand not everyone writes in order but I assume you have a word count of some sort on your outlines.

Just Robins, Wills and Johns routes would be over 200,000 words. How much of that is written? 50k? 100k?

I'm not asking to be rude, but if you are writing 25,000 words a month to met the end of year deadline, then where will you find time to do the extra work each route needs like, editing, testing, sprite work.

Again I hope you see im asking this because as a backer I am genuinely concerned about that deadline and the work required to meet it.

I am worried you are going to burn yourself out trying to hit that goal.

I totally understand, and this is part of why I'm looking into Early Access. Looks like I've got about 70k fully written out on PC in the routes so far (this is not counting the completed prologue + common routes, which are about 50k words together). I have a reasonable chunk of handwritten stuff I just need to transcribe as well. That's part of why word count estimates are difficult for me. I'm a little old-school.

I will definitely be able to complete the Sherwood routes this year, and Meissa's route should be do-able as well. Alanna is a maybe and, yeah, Geoff and Gui are looking like 2024. I've done a lot of front-end heavy lifting with my code base, so it doesn't actually take me an incredible amount of time to code in a scene once it's been scripted.

One thing about being a long Covid survivor is that I actually can't really burn myself out. My body literally won't let me. If I start to overwork, I fall asleep. Annoying, but it is what it is.

So don't worry about me! I'll be fine and the project will be fine! If anything, doing Early Access will reduce the stress on my end, because even if people are waiting to read the game when it fully comes out, they'll be able to see that the project is real and happening. :D

[feastofsnakes]

Question! I love your Terror/Disco Elysium edits. You're a visionary.

I want to get into Disco Elysium, but I'm not big into games/RPGs (the format is just really hard to hold my focus). I'm wondering if you know of a full script online -- I'd be willing to pay the price of the game for it. Or is there a way you'd recommend to go through the game in a way that focuses on uncovering all the writing?

Thanks!

the closest thing I know of is fayde, which allows you to search for a specific phrase and then click through the conversations it comes up in. the thing is that de has literally almost a million words in the script, and as far as I know nobody has ever actually transcribed it all 😭 my best suggestion would be watching a playthrough with fayde open so that you can click through the alternate dialogue choices?

[inkofamethyst]

March 13, 2024

Happy covid-iversary, yay. "Two weeks to stop the spread," is a saying that will haunt me my entire life, I think.

I didn't actually journal on March 13 which is a shame in hindsight, but I remember not doing much. I lounged around my house because classes were cancelled, I picked my sister up from school, and we went to get ice cream. A lot of other people from my/her high school had the same idea, so the line was long, and I was too awkward to say hi to the people I kinda knew (but I always thought they were cooler than me (I genuinely think most people are cooler than me... which might be a problem in some respects, but I'll deal with that later.)).

Anyway I coded for 5 hours straight and got a working encounter system, a working character creator, and a working opponent set generator. There's still a lot to move from my note to the script, but, the game works, and everything I've written runs as intended. Is it fun? Well, right now, it's all the same. Name yourself, fight one-fight two-fight three (each only requiring one or two inputs), game ends. It was exciting the first couple of times, but now I want to add more for more variety, of course.

[edit: wrote the above a couple days ago and after a break it has returned to being kind of fun. I've also learned that instantaneousness kills all tension, so I wrote a few basic functions to delay and separate lines in various ways. Anyway I'm going to hold off on doing much more transcribing/coding from my pseudocode, since I don't want to get too far ahead of the final project timeline, and I don't even really know what the expectations are, so I could be way outside of bounds here and I just wouldn't know.]

[edit 2, next day: New plan. Going to write more detailed pseudo/update poorly-detailed pseudo, do some story planning for the secret ending that I don't intend to get to but hey yaneverknow, and try to balance mechanics/come up with items/do a bunch of the little things that sap a surprising amount of creativity.]

I also binged She-Hulk, and I loved it?! I thought it was going to be awful and cringey the way people online (dudes?) talked about it, but it was genuine, and meta, and actually had me laughing at times. I mean, that last episode? Come on!!! Sure, some of the vfx were just alright, but it's a show, and after six-odd years of AOS, I'm used to it. I'm glad they leaned into the unseriousness. Also,,,, Matt Murdock is such a hottie. The quips, the law banter, the violence, ahhhh. My dnd-friend strongly endorses Daredevil, but I've held off because I was afraid of the violence, honestly. But I'm a big girl, and I'm very good at closing my eyes.

Today I'm thankful for a successful antiquing run!!!! Early last semester I heard about this antique market, and I finally put in the effort to get there today, and it was amazing!!! I was looking for shared housewares (found the specific item I was looking for!) and unique vintagey jewelry. Didn't quite manage to find anything truly vintage, but I got a darling piece of simple costume jewelry and the most fantastic mug that's shaped like a head of lettuce (this description does not do its beauty justice). The necklace will be perfect for when I finally make my way to the opera, and the mug is like something a fairy would drink from. I stayed within my budget which means I have just a little bit left in my allowance to thrift for clothes, maybe on Friday or Saturday (since I'll be in lab all day tomorrow).

By the way, the antique store was amazing. It has at least five floors (I got tired after three and a half) and is filled to the brim with some of the most eclectic stuff you could ever find, with old-timey radios playing music from various eras throughout. Magical. I could waste a lot of money there.

Oh wait, before I go, yesterday was such a busy day that I didn't even journal but I:

Met up with a lab/classmate and their partner for a lunch and a stroll in the city which was fantastic. My original plan was to go see Dune and also to pick up some (red, short, block) heels I'd ordered, but I didn't end up liking the heels on me very much, and I was enjoying the pair's company too much to cut the time short with a three-hour movie.

Went to a paint night through a diversity org I'm in which was also fantastic. I painted a cute little mushroom scene! I don’t really consider myself a visual artist and I’m not a huge fan of acrylic but it was very relaxing so I’d love to try watercolor sometime. Also like,, because this isn’t my "preferred medium" it was SO nice to not be stressed about perfection and just go for it.

[emeraldskulblaka]

WIP: LotR Musical Script - Toronto 2006 & West End 2007/08 + Watermill 2023

I am in the process of writing a script for all three productions of the Lord of the Rings Musical since no official script has been released so far.

I am transcribing multiple audio recordings of the respective final versions of the show post-opening night in order to avoid including ad-libs and line flubs, and get as close as possible to the words as written in the actual script. For now, I'm actively working on the West End script, but I've started on Toronto as well.

Here's what I've published so far - I've got a lot more and will take requests for specific scenes.

Toronto

The Council of Elrond (from my deleted sideblog)

Wonder

Now and For Always (Reprise)

Gondor (from my deleted sideblog - please request transcript)

West End

Bag End

Now and For Always

Wonder

Now and For Always (Reprise) (previews only) (from my deleted sideblog)

Epilogue / Farewells

Watermill Theatre

The Road Goes On

Shout-out to @elrenniel, who has kindly provided corrections to my transcript of the Toronto version of "Wonder" and translated several Elvish phrases in the yet unpublished first 20 minutes of Act 2.

Captions

@melkormajere transcribed the edit and published the "captions" here. You legend <3

Lyrics

The official lyrics to most songs (including translations from Sindarin, Quenya, Old English, and the Black Language) featured in the West End production were published in the booklet of the Original London Cast Recording. I linked a PDF version of said booklet here, but I highly recommend getting a physical copy of the cast recording.

"Prologue / Lasto I lamath" is sung by Arwen after the death of Boromir in Act 2; it is not featured as a prologue in the stage show.

Again - I've got a lot more than this, and I'm willing to re-post the bits and pieces I'd already shared on my sideblog. Feel free to request anything you're interested in. It might take me a while to post it though 😅

[walkyjake]

we need to construct a machine that will transcribe thge hypothetical video essay scripts (complete with visual mockup imaginations, editing styles, and jokes that serve as transitions) that i write in my  brain while doing tasks at my grocery store job  or  when  youre in the shower   or about to  fall asleep in bed. beccause i forgot all of them already. can we  get a  machine that transcribes thoughts into words in general. ok.

[sunnyapollonjabrigidotter]

Gaius Iulius Hyginus ...

"Latin author, a pupil of the scholar Alexander Polyhistor, and a freedman of Caesar Augustus. He was elected superintendent of the Palatine library by Augustus according to Suetonius' De Grammaticis, 20. It is not clear whether Hyginus was a native of the Iberian Peninsula or of Alexandria." Wikipedia

"Under the name of Hyginus there are extant what are probably two sets of school notes abbreviating his treatises on mythology; one is a collection of Fabulae ("stories"), the other a "Poetical Astronomy"."

He's got many lost writings... (hate when this happens, but nah...)

More on the Fabulae..

"The Fabulae consists of some three hundred very brief and plainly, even crudely, told myths (such as Agnodice) and celestial genealogies,[3] made by an author who was characterized by the modern editor, H. J. Rose, as adulescentem imperitum, semidoctum, stultum—"an ignorant youth, semi-learned, stupid"—but valuable for the use made of works of Greek writers of tragedy that are now lost. Arthur L. Keith, reviewing H. J. Rose's edition (1934) of Hygini Fabulae,[4] wondered "at the caprices of Fortune who has allowed many of the plays of an Aeschylus, the larger portion of Livy's histories, and other priceless treasures to perish, while this school-boy's exercise has survived to become the pabulum of scholarly effort." Hyginus' compilation represents in primitive form what every educated Roman in the age of the Antonines was expected to know of Greek myth, at the simplest level. The Fabulae are a mine of information today, when so many more nuanced versions of the myths have been lost.

In fact the text of the Fabulae was all but lost: a single surviving manuscript from the abbey of Freising,[5] in a Beneventan script datable c. 900, formed the material for the first printed edition, negligently and uncritically[6] transcribed by Jacob Micyllus, 1535, who may have supplied it with the title we know it by.[7] In the course of printing, following the usual practice, by which the manuscripts printed in the 15th and 16th centuries have rarely survived their treatment at the printshop, the manuscript was pulled apart: only two small fragments of it have turned up, significantly as stiffening in book bindings.[8] Another fragmentary text, dating from the 5th century is in the Vatican Library.[9]

Among Hyginus' sources are the scholia on Apollonius of Rhodes' Argonautica, which were dated to about the time of Tiberius by Apollonius' editor R. Merkel, in the preface to his edition of Apollonius (Leipzig, 1854)."

Yeah, seems.. idk... im confused...

Gotta appreciate the ones who can work a nice way out w too little infos, really want to know what he had to say on the godess he & probably a select group of ppl envisioned as a primordial, was it instead of another primordial as we learn in Hesiod's Theogony... or was an addition, did i read right? Appeared b4 Chaos?? Or im already confusing w sth else... my bad, cs taken a mlp pause to work on a ship edits, of which two i lost cs picsart got bugs agn...

But here's the one that didnt (cs didnt forget to save)... the pony on the right is the oc, ik, i placed cheese sandwich too much in center, so it looks like its abt him, but no, he's just a pal... the name of the blue one w what i envisioned as brown curly mane w blue highlights, is Swirling Magus - & he's oc kid of wizwinds (wiz & winds) gay ship from mlp equestria girls... he's a nice guy, an ambivert, likes both to study like twillight, & hangout w friends, hold magical performances, & he can be so silly... pronouns: he/they

Yeah, just explained my dizzy mind 😆😁

Now ill back to Higynus ...

Found it on topostext.org 😍

"§ 0.2 Preface: From Caligine (Mist) (was born) Chaos; from Chaos and Caligine: Night, Day, Erebus, Aether. From Night and Erebus: Fate, Old Age, Death, Dissolution, Continence, Sleep, Dreams, Love — that is, Lysimeles, Epiphron, dumiles [?} Porphyrion, Epaphus, Discord, Wretchedness, Wantonness, Nemesis, Euphrosyne, Friendship, Compassion, Styx; the three Fates, namely, Clotho, Lachesis, and Atropos; the Hesperides, Aegle, Hesperie, aerica." ...

Here

[shiza-mga2024mi4016]

DOCUMENTARY & DOCUMENTARY TIPS

The term ‘documentary’ has evolved within the film and television world over the years. Broadly, such a screenwork ‘documents’ reality.

It is a work of non-fiction. Usually, they will focus on a specific topic from an alternative angle or perspective, which the filmmaker is often eager to tell

Tips for Writing a Documentary Script

- Find Your Story

- Know Facts from Fiction

- Research Your Subject

- Prepare a Proposal

- Create a Blueprint

- Tell a Story

- Transcribe Footage

- Be Ruthless

- Pay Attention to the Details

- Fact Check as You Go

Tips on How to write a proper Documentary Script:

Research & Plan:

Choose a topic.

Gather facts and interviews.

Outline your structure.

Treatment:

Write a synopsis.

Detail tone, style, and key visuals.

Script:

Draft the narrative (intro, body, conclusion).

Include visuals (B-roll, graphics, music).

Format:

Use a two-column layout (visuals/audio).

Add scene numbers/timecodes.

Revise:

Edit for clarity.

Finalize with feedback.

Pre-Production:

Create a shot list.

Storyboard key scenes.

Production:

Shoot and edit according to the script.

LINKS:

https://blog.celtx.com/writing-a-documentary/

https://www.nyfa.edu/student-resources/how-to-write-a-documentary-script/

https://www.youtube.com/watch?v=6nLRZ5codHU