To a lot of screenwriters, the Rewrite is an all out assault on their "vision". Whether that is true or not, said screenwriters need to get over that or find another line of work. Rewrites are fact of life in the screenwriter's world because, guess what, no one fully shares your vision, and I stress "fully".

 

Now, several different scenarios can prompt the dreaded rewrite, the most prevalent being that you've already sold the script and are slated to the rewrites. In this scenario many factors can be attributed to the alterations: budget, length, character, the director's vision, the producer's girlfriend's vision, etc. The point is you sold your script and now it belongs to someone else. If they want to carve up your "Rembrandt" they have every right to do so. Take two aspirin and smile through gritted teeth.

 

Another scenario is that you have not yet sold the script but an interested party would be happy to take a more "serious look" at your script if change this, that, the other thing, and if you get rid of the character that reminds you of your mother. This is the most frustrating scenario because someone else is imposing his or her vision on you without paying for the privilege. Trust your instincts on this one. If it is a reputable company you might want to just take the plunge, especially if no one else is giving the time of day.

 

What if no one is taking a look at your script? Could mean your work is not appealing to anyone else but you and possibly your cat. So before you ritually light your head on fire consider the idea that, "Hey, maybe the script CAN be improved. How can this be done?

 

Well, to do a thorough rewrite the screenwriting needs to do some soul-searching before going back to the drawing board. The soul you need to search for is that of your screenplay. What are you trying to say and why? Go back to your logline. If there were positive responses to it, are you fulfilling it? If you weren't getting positive responses to your logline then either "kick it up" or "kill it". Brutal, but that's the way it is. Give "them" what they want not what you want.

 

Let's assume people love your logline but your story just needs to be developed a bit more. Now, we're talking. But wait. How should it be developed a bit more? FEEDBACK! Get as much of it as you can from the people who matter. Let them navigate a tad.

 

Okay, you have your feedback. The changes might be anything from character depth to dialog. Maybe the scenes aren't clear enough. It could be that your entire structure needs an overhaul. Odds are there's no problem with spelling or grammar because you're too professional for that kind of literary transgression.

 

With regards to structure, start with going over your Objective Storyline. Is it fluid? Believable? Is the conflict compelling? Look at the underlying Subjective Storyline (the hero's story). Does it resolve itself in time for the protagonist to accomplish the main objective? Does the encompassing plot please the "powers that be"?

 

After "clearing" the most basic overview of your story, re-examine your beat sheet step by step. If there's a major change that needs to take place it will probably happen within the skeletal structure of your beat sheet. Be careful when altering your structure as you do not want to screw up the cohesiveness of the story's flow. If taking orders from a "decision-maker", alert him or her to the flow. This logical concept goes without saying to the true professionals in the business but will sometimes fall on deaf ears to those unmentionables (boneheads) who most assuredly "know better". Do your best to work within the system, no matter the circumstances.

 

Quite often the case will be that your characters need to be developed more. They need more depth. The audience needs to care about each and every one of them. Those people onscreen that aren't acknowledged are known as "extras". Extras don't have names so feel free not have a named character exist on the same level.

 

To fully develop a character, answer basic questions about his or her background. How do they talk? What would they say in a certain situation? How would they act? How would they react? Maybe there's a mini-story within the script that they can be a part. Make them three-dimensional. You know these people. You created them. Tell everyone else about them. (A list of sample questions for character development exists in the Characterization section)

 

Dialog is an art form and some people just are not proficient enough artists within this vein. This doesn't mean these people should "hang it up". It just means they have to work harder at it. Some people are naturals. Read over your dialog. Does it sound real? Would you hear it on the street? Listen to what each character says in the script. There should be a clear individualism when it comes to dialog. Also, think about in which era the script takes place. Have your dialog reflect that era. "Whatever, dude" just doesn't wash in the 1800's (I'm still trying to figure out Keanu Reeves in the movie Dracula)

 

There are times when no dialog is better in certain scenes. Examine this. Put yourself in the same situation as the character. You might not say anything. You might just act upon a situation. Let the actors strut their stuff without speaking. Could you imagine if they doubled the lines Tom Hanks in Cast Away? The audience would have him ready for the "happy home" 30 minutes into the film.

 

Believe it or not, some producers, directors, etc. think your dialog is too realistic. Go figure. But that might be exactly what an "accomplished" filmmaker is looking for, a little sensationalism for comedy's sake.

 

Maybe there's a problem with scenes or scene placement. Is the progression cohesive? Are there some scenes you can do without? If you don't need a scene, pull the lever. Fluff is for tabloids.

 

Rewriting has been referred to as "killing the widows and orphans". TRY not to take that outlook if you plan on going through a rewrite. It's painful, yes, but there is a goal you're trying achieve, much like what your protagonist is trying to do. Whether for art's sake or money's sake the rewrite needs to be done....if you want to get anywhere.