Successful Script Redrafting for Writers
Effective Stage and Screen Play Editing Techniques
It’s often said a great script isn’t written but re-written. But how does a writer best go about tackling this process?
Ensuring the Script has Focus
The writer should be able to gauge after reading the script whether it does what they intended. The most important factor being whether it tells the story clearly and is generally understandable. If this is not the case then the simplest and most effective thing the writer can do is cut out everything which is in anyway whatsoever not relevant to the characters goals.
This means the script will exist in its most concise version.
Cutting Extraneous Material
Cutting is the most important part of the redrafting ritual and every writer should be as ruthless and brutal as can be during this process.
One area that often will require cutting (and is the hardest for the writer) is any character’s long speeches. These are often where a writer will put his best and most creative work and therefore they may be some internal resistance when faced with the prospect of getting rid of them.
The writer should consider that if the speech doesn’t move the plot along, is it really essential that it stays? One philosophy is that actors will look at a script and expect to have some speeches to sink their teeth into. This is true but the writer should remember that this is the redraft stage and its purpose is to get the script as lean and as clear as possible.
Once this has been achieved then the writer can decide whether to put these speeches back in.
What Should Be Cut from a Script?
As mentioned before the writer should cut anything they feel is
- Not relevant to the story
- Doesn’t move the story on
- Is weak or substandard writing
- Not expressive of the scripts ideas
- Superfluous exposition
- Boring
Seeing the Script from a Different Perspective
A very effective technique for writers redrafting their script is to read the script from the perspective of another character.
This technique helps to highlight any problems with character motivations and will also help with focusing on dialogue style.
Organising the Script Editing Process
There are numerous ways to negotiate a script redraft but the writer will find it easier if they break the process down into smaller stages.
After they have re read the script a couple of times and understand in which direction the redraft is headed they should go through the script one scene at a time.
The advantage of this is that it avoids finishing working mid scene and losing focus. Which is the risk if say for example a writer decides to work out ten pages a day.
More advice on writing can be found in the articles, How to Write a First Play, Where to Find Inspiration for Unique Story Ideas and Defining Conflict in Screen and Play Writing
Redrafting a Script
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