Just delivered notes on a client’s script and want to share…
My last three clients totally had their ducks in a row when it came to physical writing. By that I mean the words on the page were succinct, perfectly chosen, and, essentially, invisible.
I was thrilled Your Screenplay Sucks! was named Number One Best Screenwriting Book to Read in 2020 by Script Reader Pro. [see link above!] One thing they mentioned was that I spent time talking about sentences.
Warm my black heart!
I don’t know if screenwriting is the most difficult form of writing. For sure it’s bloody hard. I’ve never tried poetry, but I imagine it’s like cracking rocks on a chain gang. Hell, all writing is tough.
At the beginning of your writing life, and every step of the way until the pen slips from your warm, dead hand, you’re asking your reader to read to the next page. And the next page and all the way to the end. Your only job, continually, page after page after page after page after page, is to never disappoint your esteemed and precious reader. You must make that happen on every single page,otherwise you will have spent all that time gestating a child who dies before ever going through the birth canal.
Use every tool on your workbench to get them to turn the page! All that hooha about plot and story and character and rising action and dénouement matters. To succeed, you better have your game on in all those departments. But, if your prose is mediocre, you don’t have wisp of a prayer.
If your sentences aren’t at “Hollywood level,” you will not get an agent. You will not sell your script. You will not get laid by a super hot actor. If you learn something, the experience will not have been a waste of time. But if you don’t learn and do fail to adjust, all that travail will have been for naught.
The foundation of good writing is good writing. That means: sentences.
Your Screenplay Sucks! is divided into three acts. Act Two, Physical Writing, is the most boring material in the entire book, and because fixing prose is a pain in the ass, I bet people skip it. Before they send their script, I tell every client to massage the prose. I email them examples of what to do. [above, click Handouts, click Physical Writing handout] They often say, “Oh no, don’t worry. I’m ready.” Meaning, “My prose is in tiptop shape.” After they see the bright red line notes on their first 20 pages, which often look like I slit a hog’s throat on ’em, I get chagrined emails saying, “I had no idea…”
Study the middle of my book. Soak up The Elements of Style by Strunk and White. Read websites that talk about this stuff. If you find good ones, send them and I’ll put them here to help other writers.
I say this all the time: I only have so much time to deal with your script. I am hardwired to work on physical writing first. If you make me waste time cleaning up your prose, I will have less time to help you with story, structure, and character, which is what I am really good at.
I also say this all the time: “When they pick up your script, after they check the page count, first thing they’re going to do is read page one. They will have no clue if you understand structure or character or storytelling. But, they will know if you can write a clear, clean, concise sentence.”
These people read screenplays all day long. If your physical writing is not top-flight, they’ll decide you don’t care about professional-level attention to detail. If they stop reading, the only person you’ll have made happy is the dude who sells you toner.