Better watch those seasons…

Especially if you’re moving scenes around.

Winter.
Spring.
Summer.
Fall.

That’s the way it goes.

But, if you are rewriting and tossing scenes about willy-nilly, you had better give a read to the whole draft. Look only at the seasons or months or hours of the day. Depending on the length of your story and how much time you cover. But, logic rules. You have to get this stuff right.

You can’t have a year of story time pass… yet have three winters and two summers. Ooops.

So, be careful when you start fooling with Mother Nature. She’ll come after you when you least expect it.

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7 Comments

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7 responses to “Better watch those seasons…

  1. William

    Are you suggesting that we have one scene for each season?

    I would think three winter scenes is fine, two summer scenes, etc…

    Does that not present well on screen?

    • yourscreenplaysucks

      I wasn’t clear. Oooops. I write these posts faster than an actual screenplay, so sometimes my message gets garbled.

      Three winter scenes in a row is fine. Fifteen winter scenes in a row is fine. In my script, I have about 65 winter scenes, because the first third of the script is in the winter.

      What you don’t want (which I did, because I was rewriting and moving things around) is to get confused and accidentally insert a extra “year” in there. So, I go through and write down when on the pages when the seasons change. I was quite surprised to find an extra Winter / Summer in there when I wasn’t expecting it.

  2. John

    Your book is one of the best books out there along with Blake Snyder’s books. I use it like a bible now. Had a question in relation to #94 in the book. Is it necessary to register outlines and treatments? Will only drafts of actual scripts suffice?

    • yourscreenplaysucks

      You can register a treatment with the Writers Guild. I am not sure if you can copyright one.

      I believe you can register what you would call an outline and say it is a treatment. That’s what I do, since I don’t really write treatments.

      And, thank you for the kind words about the book. Very much appreciated.

  3. Carol Ann

    I’m at an impasse. A scene in my first screenplay takes place one evening outdoors in summer. Location is the imperial capital of Russia, 1890’s, I’m not familiar with the phenomena of white nights, and uncertain how to describe it. What’s one way to approach a problem like this?

    • yourscreenplaysucks

      My thought…
      Write it with no research, just the way you guess it should go. Keep character and story in mind, and who cares about the real white night…
      Mark the scene with an * , so that when you search your entire draft for *s, it will show up, saying “Hey, when you get a chance, I need work.”

      Then, still worrying about story and character, rewrite the story and character stuff.

      Who knows, you may cut the scene with the *, and won’t you be happy you wasted no time on research?!

      Then, you give it to people who know about this stuff, and get them to tell you what you did wrong. I’d rather get an expert’s opinion (which they give for free if you are sweet, and don’t abuse them) in ten minutes than spend a day in a library looking stuff up.
      But, books and websites are very useful and once you know your story and characters, research can lead to wonderful discoveries.

      Have you got a copy of my book? There’s a bit of a chapter on the evils of research…

  4. Carol Ann

    Merci beaucoup pour les suggestions.
    Got the book from the library. Alas, it was returned. I should buy it. I read it ages ago in Wolf of Wallstreet time and need a refresher. Perhaps I’m using white nights as an excuse when it’s my brain that’s blacked out. Something tells me fear is really the obstacle.

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