Writing Tight Action for Spec Scripts
Some Common Mistakes Scriptwrites Should Avoid
Dec 14, 2008 Marion Grace Woolley
Most scripts open with action, and a reader will often flick through the script first to check that the formatting is correct before they even begin to read the content of the script. This is why it is extremely important to get the formatting right if a writer wants a chance at marketing their script.
There are a number of common mistakes made when writing action that are easily avoided:
Block of Text: It is best to keep action as short and direct as possible but when a lengthy block of action is required, it is important to include line breaks. A solid wall of text is a turn-off to readers, so try to keep paragraphs to four or five lines.
Tense: Keep action in the present tense. This gives it the feel of immediate action and is more involving than past tense. For example:
PAST: Alison walked to the fridge and opened it. She selected a carton of milk.We Hear/We See: Avoid using 'we hear' or 'we see' in scripts. Each time that happens, it reminds the reader that they are separate from the story, rather than drawing them in to the action. It is better to stick with the immediate and in most cases 'we hear' can be replaces with 'is heard' and 'we see' can be replaced with 'there is' or 'there are'. For example:
PRESENT: Alison walks to the fridge and opens it. She selects a carton of milk.
We hear music in the distance and we see three men come running across the sand.
Becomes:
Music is heard and there are three men running across the sand.
Even tighter might be:
Music is heard and three men run across the sand.
Capital Letters, bold and italic: A good rule is to avoid using bold or italic in scripts and to be extremely sparing with capital letters. Capital letters should always be used when introducing a character for the first time. Example:
The door opens and STEVE is standing there, he's 28, tall and dark-haired.
After introducing a character, return to lower-case when referring to them. Some people also capitalise objects of importance in a scene; this is a matter of personal preference but one mistake to be avoided at all costs is over-use of capital letters. Writing all action in capitals is a definite no-no.
Camera Angles: When writing a spec script (a script that you write hoping to sell, not one that has been commissioned), you should avoid writing camera angles or shot descriptions. Stick to writing action and dialogue. If a script is any good and gets picked-up by a production company then it will be the director's job to add the camera angles.
Novelisation: One of the most common mistakes that people make when they first start writing scripts is to write as if they were writing a novel. The difference with a novel is that we have the luxury of being telepathic. We can know what a character is thinking and feeling.
In script writing, we can only know what a character is thinking or feeling if we can see or hear it.
Seeing Action:
NOVELISATION: Jenny's son, Ewan, is drawing with crayons on the wall. Although Jenny thinks it is pretty, she is also feeling annoyed at him for ruining the wall.
SCRIPT: Ewan is drawing on the wall with crayon. Jenny stands behind him looking annoyed.
We can see from her face that she is annoyed, we cannot know that she thinks the drawing is pretty unless she says something.
Hearing Action:
NOVELISATION: Andrew opens his mouth to tell Pete his story, but Pete feels too tired to listen to him after such a long day at work.
SCRIP: Andrew opens his mouth to start talking.
PETE
(exhausted)
Another time, eh Andy? It's been a long day.
Above all, remember that the point of action is to convey as clearly and directly what is going on in the story. Keep lines short and to-the-point, avoid adding superfluous description just because it sounds nice. Action, unlike most other forms of fiction, is functional above all else.
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