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Thursday, April 23, 2015

What Bad SF Can Teach Us About Writing Screenplay Description – Repost from CHIPSTREET - posted by wonkavite

What Bad SF Can Teach Us About Writing Screenplay Description

You wanna write screenplays?  Seriously?  Hopefully for a living?  Well, one thing you’ve got to do is perfect your art. Write. Rewrite.  And keep plugging away… nonstop. Keep polishing your craft until it shines!

…and be open to lessons learned from those who’ve been in the trenches, and blazed the same trail that you seek.  STS is happy to be reposting a series of articles from ChipStreet.  Folks, this is a terrific website – we recommend that you check it out in more depth!  (Original article available here: http://chipstreet.com/2011/06/24/what-bad-science-fiction-can-teach-us-about-writing-screenplay-description/)

About Chip: Chip Street is an IMDB credited indie screenwriter, director, and art director. His short films have screened at festivals, and his feature screenplays have been optioned and sold. He is a screenplay analyst, competition finalist, screenplay judge for a major industry competition, screener for an International film festival, founder of Write Club Screenplay Challenge, and a respected blogger on the art and business of screenwriting. He’s been published or cited by The BlueCat Competition Newsletter, Script Magazine, JohnAugust.com, Bleeding Cool, NoFilmSchool, ScriptTips and IndieWire.com.

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What bad science fiction can teach us about writing screenplay description

Originally posted on June 24, 2011 by Chip Street

Why too much detail destroys screenplay description – and pisses readers off

I just finished slogging my way through another script as a judge for a screenplay competition.

Yes, slogging. It was painful. It was boring. Frankly, I couldn’t finish it. I gave it a “pass”.

Because the writer gave me too much description.

Exactly how many licks it takes to get to the center of a Tootsie Pop

The screenwriter told us just how many steps a character took to cross a room (11), whether the couch was on the right or the left of the doorway (left), how many seconds a dog barked (5), and precisely how much space is between the lights in an alleyway (30 meters). I learned that the kitchen table is rectangular, and how big it is (approximately 33 inches by 60 inches).

I wanted to shoot myself in the head. For the record, this is not how you want to make your reader feel.

Perhaps because this was a sci-fi script, the writer fell victim to the classic hyperspecificity of Golden Age authors like Arthur Clarke (whose penchant for detailing the precise number of rivets in a spaceship might make for good geekery, but doesn’t make for good Literature [opinion] or screenwriting [fact]).

But consider this: even between the covers of a sci-fi bestseller, there’s such a thing as too many words. Too much specific description. Too much time spent on details that are not story critical, and that actually disrupt the rhythm and pacing of the read.

The Larry Niven reference

Once, many years ago, I had brunch with acclaimed sci-fi writer Larry Niven, and he shared a story about the writing of the bestseller Ringworld. He said that he spent days writing about a detailed and lavish banquet. Every exotic food, roasted creature, colorful fruit, bizarre drink, strange and alien utensil. He loved it, and was so proud of it.

Then he turned it over to his sometime writing partner Jerry Pournelle for some honest feedback. Jerry, he said, was a ruthless editor. Jerry reduced the scene down to two words:

 They ate.

Larry laughed. He said Jerry was right. He didn’t need it. He had to kill his baby.

But I see the movie in my head

I know, I know. The writer saw the movie in her head and needed to share it. Every moment was crystal, the dramatic void of silence as the protagonist thoughtfully crossed the room was critical to pacing and mood. I get that.

I get why the lights were 30 meters apart, I do … because that vision of a black alleyway punctuated with pools of yellow light was mysterious.

So say that. In that minimalist syllable-counting haiku that is (or should be) screenwriting. In the way that makes every word count. In a way that’s artful. In a way that doesn’t suck the life out of it, and devolve into a soul-less mechanical blueprint for the set designer.

In a way that doesn’t make the reader (and that’s your audience) roll his eyes and shut your script on page four after you’ve pulled him out of the story because you can’t get to the fucking point.

And no, it won’t be easy. That’s why not just anyone can do this. As I said in Writing Screenplay Description with Personal Style:

… it’s a tricky balance… Style (with a capital “S”) can’t supersede the screenwriting tenet of direct simplicity. It’s an interesting challenge, to introduce enough of your Style to create a personal voice, while avoiding the hyper-specificity of extraneous detail that slows down the real-time pace, and readers hate.

It’s not your job

Here’s what you need to know, young newbie. It’s not your job to design the sets. It’s not your job to costume the talent, or do their hair.

It’s not your job to choose camera angles, or block the action.

It’s not your job to direct.

Yes, sometimes, it is story critical to drop in a hyper-specific detail like “the couch was on the left”. If you’re writing Memento, or Eternal Sunshine of the Spotless Mind, or Run, Lola, Run, those details may resurface, and make themselves important to the story.

But as a reader, let me say this: If you specify that the couch is on the left, or that he takes 11 steps across the room, or the dog barks for 5 seconds, those details damn well better be story points. ‘Cuz I’m going to be waiting for them to justify themselves in some important way.

And they better.

But I like to write all that description

I got the feeling, reading this painful script, that maybe what the writer really wanted to do was write a sci-fi novel.

Then write a novel. Seriously. Maybe that’s what you excel at … maybe that’s what really stokes your creative embers. Maybe sorting out and displaying all those fabulous details, all that texture, is the language of your art. And good for you, dammit. Go forth and do it. Between the covers of a book.

But remember Larry’s story … remember that even there, less can indeed be more.

BY THE WAY: I am compelled to assure you, dear reader, that I did not actually lift any lines verbatim from the script. I paraphrased, to create a representative example. No inappropriate plagiarism to see here. Move along.

 

 

 

 

1 Comments so far

1.

KP Mackie
April 26th, 2015 at 3:54 pm

Great reality check, CS!
As a reader who loves visual quality and description that provides vivid mental pictures, all those words DO take up space.
A contest reader, as opposed to the friend-reader, won’t be able to get through all those pages without thinking condense, condense, condense.

Sometimes reminding all of us about screenwriting basics goes a long way… 🙂

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