Script Analysis.
  • Blog
  • Contact

3 Things Screenwriters need to stop being afraid of

9/24/2013

9 Comments

 
Picture
If you spend much time with screenwriters, you’ve probably heard a bunch of absolute no-no’s when it comes to screenwriting.

You can’t do this. You can’t do that. Oh, if you do that, whoever is reading your script will use it for toilet paper.

This week, we’re here to say: Stop worrying about that stuff!  It doesn’t matter. Really. It doesn’t. 

In fact, it’s almost like all of these ‘nevers’ are invented by screenwriters to make us feel like we have more control over what happens to our scripts than we really do.

“How could he not like it?! I didn’t do anything on that list of stuff I can never, ever do!”

He didn’t like it because you were too busy worrying about rules to focus on improving your writing, and getting your work where it needs to be.

So this article is actually a reason for many screenwriters to rejoice. All those little things you force yourself not to do when you write… You can start doing them again!

Keep reading to find out exactly what I’m talking about…

Voiceover

Voiceover is a useful tool. Don’t be afraid to use it. But if you do, just make sure you’re doing it for a reason.

In comedy, voiceover is a really handy way to set up jokes or deliver punchlines.

In drama, voiceover is an awesome way to get deeper into the character’s psyche.

There are only two real guidelines to voiceover, 1) Don’t use it to repeat information the reader already knows. 2) Be consistent (if you use it early, use it often).

Flashbacks

Lost did it, so why can’t you?

Flashbacks are incredibly useful in all genres. They work best when they provide information that pushes the story forward. 



They also work well when they happen in place of a character monologue about a past event. If it’s more interesting to see what happened than to hear a character talk about it, a flashback could be exactly what the (script)doctor ordered.

Writing what can't be seen

Screenwriters are always told not to write words on the page that don't literally translate to an image on screen. 

But that's nonsense. Great writers write stuff that can't be seen all the time, and it's a big part of what makes their scripts enjoyable.

Our favorite way to use this technique is to tell the reader how the main character is feeling at the moment. A line like, "He watches her go, finally confident that what they have is real," can be extremely useful. 

That was a bad example, but you get the point. 

Picture
This excerpt from the pilot of The Office is a perfect example of using action writing to track important emotions.
This kind of action writing allows the reader to track the emotional arc that your hero is going through. Good writing is rich with subtext, which is easy to miss if you’re a producer reading a dozen scripts in an afternoon. So don’t forget it - - these little cues are your best friend.

What else?

There are tons of little 'rules' that bog screenwriters down in useless worry. They slow down the writing process, they block creativity, and they're completely unnecessary.


We only listed three here. Share more in the comments! 

9 Comments
Geno link
9/25/2013 05:21:00 am

Couldn't disagree more.

The above-referenced "rules" and many of the ones you allude to are "rules" for a reason. If these rules aren't important, than I can only assume misspelling, bad punctuation and grammar are also non-issues- "as long as you tell a good story".

The fact is that you MIGHT be telling the next "Gone With The Wind" but no one will ever know it, because unproduced, unsold and unknown SPEC screenwriters will not get their scripts read if they include these errors, and many more errors I can list. I know several producers who, when, they come across a flashback, dream sequence or excessive VO's in the first ten pages, will immediately put the script down and move on to the next one. Most newer writers use these techniques because they think it's easy and it allows them to relay information that they would have trouble sharing otherwise. They haven't worked at their craft long enough, if at all, and as a result, are NOT skilled enough. Worse, most use these techniques incorrectly. They haven't learned the art of subtext, so they feel the need to "narrate" through VO. The problem is NOT in the use of flashbacks, voice-overs or dream sequences, or even writing things that can't be seen. It's the misuse of such. You want to catch my eye as a reader? Write a script that doesn't contain voiceovers, flashbacks or dream sequences. Show me that and I'll show you a talented screenwriter, in all probability.

To use an example like "Lost" as validation- really? The writers of "Lost" are of equal stature and ability to the unsold, unknown spec screenwriter? Of course not, so as a rule, you shouldn't compare these two because there IS no comparison. I'm pretty sure Abrams and the rest made their bones long before they got to write on "Lost" and by virtue of that experience, can use these techniques correctly and effectively. I also suspect those writers spent years working on their craft, learning it, while also following many of the rules.

Learn the rules and follow them, until you make a name for yourself, get your foot in the door, and establish some credibility as a writer. Once that happens, then you can break all of the rules, knock down all of the doors, and burn the town!

Attica! Attica!

If "rules" don't matter, please don't stop there: forego ink, paper, and English and whatever else the norm has established and buck all convention.

After all, "story" rises above all.

Reply
Script Quack link
9/25/2013 05:38:01 am

Thanks for commenting, Geno. I think you make plenty of good points here. The most important, I think, is that you can only use these techniques if you use them correctly.

Readers put down scripts when these techniques are mis-used, or used excessively, as you point out. But if they're used well, they can be helpful, and they can help create a better script - - that's our main point.

There's no reason an unsold writer can't use flashbacks or v.o. just as expertly as the writers they admire. And if they do, no producer worth his salt will penalize them for it.

Reply
Adam S link
9/25/2013 05:25:51 am

RE: WHAT CAN BE SEEN

"He feels down." or "She feels like jumping in front of a Mack truck." are all totally cool in my book. Actors get paid to put those emotions on their faces and that is how those story points get on camera. "He looks around and sighs," tells me half as much as if you say he wanders around "indecisively," or "wondering if he should tell her." Scripts are not just a diagram for where to place the camera. They're notes to the entire cast and crew.

Reply
Allan M
9/25/2013 05:32:28 pm

I couldn't agree more. We can get bogged down with who we are writing for and forget what we are writing. A script is a narrative that tells our stories in the most powerful way possible. Therefore, we NEED to write in character emotions to create the subtext in the story. This directs the actors to find the subtext and prevents misinterpretation of what the script is saying. I do think this rule exist to prevent the writing of action etc that can't be seen, which speaks for itself. However, I'm sure some people do make that mistake. Usually because they haven't experienced seeing their work turned into film.

Reply
Geno
9/25/2013 05:58:49 am

Script Quack- advising the writer to LEARN these techniques and not misuse or abuse them is a far cry from telling them to disregard rules altogether because "it really doesn't matter", which is what you've done here. I'd love to see one example of a successful screenplay written in the last ten years by a previously unknown, unproduced screenwriter whose story was so overwhelming impressive that all readers and producers disregarded all the conventions that were broken and felt it was worthy of being purchased, as is. Just one. Meanwhile, the list of (potentially) great stories NOT being read or considered because of the vast amount of screenwriting errors is out-the-door long.

Know the rules, abide by the rules, and get discovered. After that, do what you do best.

That's my point.

Reply
Adam S link
9/25/2013 06:14:42 am

The voice over rule is so vague as to be totally useless. I find when people say "don't use VO" what they really mean is don't break the 4th wall. I agree with this, but there is a ton of VO in ETERNAL SUNSHINE, SIN CITY and others that never break the 4th wall. Yes, the VO that tells the story at the beginning of a movie REALLY SUCKS and even breaks two rules -- neither being this vague VO rule. Broken rule 1.) show don't tell and 2.) don't break the forth wall unless it works and it never, ever, but on occasion, does. So maybe the rule should really be "Don't break the forth wall by telling the story with VO."

Reply
Jack Sekowski
9/25/2013 09:52:46 am

500 Days of Summer

Reply
Lisa
9/25/2013 03:34:53 pm

On writing what can't be seen. I don't mind reading a description of a feeling here and there but if the script reads like a novel and interesting opportunities to show how a character feels have been omitted I get annoyed. It is a pleasure to read something that conveys a feeling through action and clever dialogue.

Reply
Chris
9/25/2013 05:42:41 pm

Totally AGREE with this article.

I believe there are only three real rules in screenwriting.

Be clear. Be entertaining. Don't screw with the margins/font.

That’s it.

The idea that you should NEVER…

Bold. Underline. Italicize. Use ellipses. Use more than one hyphen. Only write what you can see. Only use Day/Night. Put action in character parens. (What are you doing using character parens anyway?)

How. Incredibly. Boring.

To quote the great sage Morpheus “there’s a difference between knowing the path and walking the path.”

My last remark is this. Name one successful artist who said, I got to where I am today by following the rules.

Emily Post doesn’t count.

Reply



Leave a Reply.

    Popular Articles:
    • 5 Famous Character Introductions 
    • 10 Ways to Become a Better Writer
    • 7 Screenwriting Rules That Are Killing Your Creativity
    • How to Cut 10 Pages from Any Screenplay
    • The Screenwriting Secret No One Will Tell You

More information

Screenwriting Articles
Free Movie Scripts


© Copyright Script Quack 2010 - 2017, All Rights Reserved