During my time as a lowly-paid (and in most cases, not paid at all) Script Reader, I often came across a common pattern of the novice writer; the lack of white space on a page.
When we set out to write our first script, we’re so excited with the prospect of creating and controlling our own little world that we lose sight of what we’re actually doing; formulating the blue-print of a movie. We forget (or block out) that if we’re lucky enough to have our writing turned into an actual film, a lot of what we put down on the page is going to be moved and changed.
It’s just what happens. People bitch about it, I bitch about it, but until we’re famous, our words are not always considered the be all and end all of a project.
If you’ve been through one or two screenwriting classes, you become hip to this annoying fact early on, but many writers who strike out into the writing world on their own (or just categorically refuse to listen to their teachers) will time and time again create a screenplay that is FULL. OF. WORDS.
What?! You say. Of course it’s full of words! Scripts are supposed to be full of words! Well, sure. Your script should have words, but the more you put down on the page, the less freedom you’re giving your reader to imagine.
Generally, people agree that 1 page in a script equals one minute on screen. However, if you load your pages down with heavy soliloquies and long-winded descriptions of action, not only are you screwing up the 1-minute-per-page timing, you’re also illustrating the death grip you have on your story – and nothing is more disturbing to a reader than a writer who’s got their work in a choke hold. Why doesn’t this guy just let me fill in the blanks? A reader thinks as they skim paragraph after paragraph of description. Do they think I’m stupid? I wonder if they’re this controlling in real life? I’d hate to date them…hey…is there still cake from last night in the community fridge…?
I know that you know your story better than anyone else, but when you’re writing your script, consider this one very simple but very true fact: less is more. Clear, concise writers are writers who know exactly what they want to say and trust actors and directors to understand them. Wordy, overblown writers trust no one and are determined to keep other people’s interpretations at bay.
The more white your page has, the more empty space, the more room there is for me to imagine. The more concise you are, the easier it is for me to focus on your words. Do you want to keep my mind from drifting off to thoughts of cake?
Then embrace the space.
[Photo from markpowerblog.com]
Comments
Good advice
I always try to have lots of white space ... helps pass the "fan test" when a reader fans through the pages before starting their read.
Dang.
Now I want cake too.
Less is more: amen!
Agreed! I think being less verbose makes the reader pay more attention; you tend to impart more meaning to words when there's less of them.
excerpt from my myspace blog...
On my first rewrite assignment, I added a 2-1/2 page opening sequence involving only animal characters, so there was no dialogue, except for two brief scenes intercut in the middle of it to introduce two of the human characters.
The studio liked the new scene, but their note was: "Make it shorter." The note was a little vague. Was the scene too violent for a family film so they wanted less of it? Was there a particular part of it they wanted me to cut? Was it too dragged out with the cutaways to the humans? Or did they just arbitrarily feel a need to get to the original beginning by page 2?
Turns out their concern was simply over the appearance of the first two pages, not about the content. They were ready to send it out to talent and were worried agents would open the cover and see a lot of description paragraphs right off the bat and shove the script to the bottom of their pile assuming it was amateur writing.
They wanted to see more white space. So they suggested adding more dialogue in those cutaways, even if there was nothing important for the characters to say in those scenes. Contrary to their initial note ("make it shorter"), this would have made it longer, but it would have made it "look" more like a standard script at first glance. Once I understood what they were looking for, I was able to rewrite the action paragraphs in Shane Black's style of very short single-sentence paragraphs: "The dog SNARLS." "The fox LEAPS at her." And so on. It ended up still being 2-1/2 pages, so it didn't "make it shorter," and it didn't add any pointless dialogue like they had suggested, but it did make the opening exactly how they really wanted it, with more white space.
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