kylekmd
Well-known member
Hello DVXusers,
If you’re having trouble outlining your screenplay or, more specifically, plotting out the character-driven events with all-important reversals, revelations, twists, plants & payoffs, etc., then you might find the following recommendations by H.P. Lovecraft helpful.
Although geared toward writers of novels and short stories, his points are nonetheless helpful for screenwriters.
1. CHRONOLOGICAL ORDER. Prepare a synopsis or scenario of events in the order of their absolute occurrence—not the order of their narration. Describe with enough fullness to cover all vital points and motivate all incidents planned. Details, comments, and estimates of consequences are sometimes desirable in this temporary framework.
2. NARRATIVE ORDER. Prepare a second synopsis or scenario of events—this one in order of narration (not actual occurrence), with ample fullness and detail, and with notes as to changing perspective, stresses, and climax. Change the original synopsis to fit if such a change will increase the dramatic force or general effectiveness of the story. Interpolate or delete incidents at will—never being bound by the original conception even if the ultimate result be a tale wholly different from that first planned. Let additions and alterations be made whenever suggested by anything in the formulating process.
3. THE VOMIT DRAFT. Write out the story—rapidly, fluently, and not too critically—following the second or narrative-order synopsis. Change incidents and plot whenever the developing process seems to suggest such change, never being bound by any previous design. If the development suddenly reveals new opportunities for dramatic effect or vivid storytelling, add whatever is thought advantageous—going back and reconciling the early parts to the new plan. Insert and delete whole sections if necessary or desirable, trying different beginnings and endings until the best arrangement is found. But be sure that all references throughout the story are thoroughly reconciled with the final design. Remove all possible superfluities—words, sentences, paragraphs, or whole episodes or elements—observing the usual precautions about the reconciling of all references.
4. SECOND DRAFT, LATER DRAFTS & POLISHING. Revise the entire text, paying attention to vocabulary, syntax, rhythm of prose, proportioning of parts, niceties of tone, grace and convincingness of transitions (scene to scene, slow and detailed action to rapid and sketchy time-covering action and vice versa... etc., etc., etc.), effectiveness of beginning, ending, climaxes, etc., dramatic suspense and interest, plausibility and atmosphere, and various other elements.
5. AND FINALLY. Prepare a neatly typed copy—not hesitating to add final revisory touches where they seem in order.
The first of these stages is often purely a mental one—a set of conditions and happenings being worked out in my head, and never set down until I am ready to prepare a detailed synopsis of events in order of narration. Then, too, I sometimes begin even the actual writing before I know how I shall develop the idea—this beginning forming a problem to be motivated and exploited.
If you’re having trouble outlining your screenplay or, more specifically, plotting out the character-driven events with all-important reversals, revelations, twists, plants & payoffs, etc., then you might find the following recommendations by H.P. Lovecraft helpful.
Although geared toward writers of novels and short stories, his points are nonetheless helpful for screenwriters.
1. CHRONOLOGICAL ORDER. Prepare a synopsis or scenario of events in the order of their absolute occurrence—not the order of their narration. Describe with enough fullness to cover all vital points and motivate all incidents planned. Details, comments, and estimates of consequences are sometimes desirable in this temporary framework.
2. NARRATIVE ORDER. Prepare a second synopsis or scenario of events—this one in order of narration (not actual occurrence), with ample fullness and detail, and with notes as to changing perspective, stresses, and climax. Change the original synopsis to fit if such a change will increase the dramatic force or general effectiveness of the story. Interpolate or delete incidents at will—never being bound by the original conception even if the ultimate result be a tale wholly different from that first planned. Let additions and alterations be made whenever suggested by anything in the formulating process.
3. THE VOMIT DRAFT. Write out the story—rapidly, fluently, and not too critically—following the second or narrative-order synopsis. Change incidents and plot whenever the developing process seems to suggest such change, never being bound by any previous design. If the development suddenly reveals new opportunities for dramatic effect or vivid storytelling, add whatever is thought advantageous—going back and reconciling the early parts to the new plan. Insert and delete whole sections if necessary or desirable, trying different beginnings and endings until the best arrangement is found. But be sure that all references throughout the story are thoroughly reconciled with the final design. Remove all possible superfluities—words, sentences, paragraphs, or whole episodes or elements—observing the usual precautions about the reconciling of all references.
4. SECOND DRAFT, LATER DRAFTS & POLISHING. Revise the entire text, paying attention to vocabulary, syntax, rhythm of prose, proportioning of parts, niceties of tone, grace and convincingness of transitions (scene to scene, slow and detailed action to rapid and sketchy time-covering action and vice versa... etc., etc., etc.), effectiveness of beginning, ending, climaxes, etc., dramatic suspense and interest, plausibility and atmosphere, and various other elements.
5. AND FINALLY. Prepare a neatly typed copy—not hesitating to add final revisory touches where they seem in order.
The first of these stages is often purely a mental one—a set of conditions and happenings being worked out in my head, and never set down until I am ready to prepare a detailed synopsis of events in order of narration. Then, too, I sometimes begin even the actual writing before I know how I shall develop the idea—this beginning forming a problem to be motivated and exploited.
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