Scriptwriting technique

Mj882

Mj882

Well-known member
I've read a few scriptwriting tutorials and books and none of them seem to mention envisioning the actual scenes whilst writing. When I say envision scenes, I'm talking about considering angles and music.

I've read books that have mentioned a lot of others things, such as crafting images rather than using exposition, considering dramatic moments, elements that drive and reveal more conflict within the scene, fair enough.

But when I write, I tend to also envision the scene from a completely stylistic perspective, I'd think of the non-diegetic (or even diegetic) sounds, the angles I'd shoot it in and other stylistic aspects. I have a tendency of working my scenes around those mediums during the pre-production stages, whether it's a scene outline or the actual screenplay itself.

Any other people do this? Or is it just me? I only know one other person who revolves their writing around heavy filmic mediums, otherwise if I completely focus on the substance based elements, then I'm better off writing novels.

And yes these are scripts I intend to direct myself.
 
Well, if you are directing and funding the film yourself, you can do whatever you want... though, as I'm sure you know from experience, one of the things standard script format does is make it easier to schedule and budget.

And the reason why books (mine included) and other info sources don't go into the directing stuff is that it *is* directing stuff - and is not part of the screenplay. You can visualize an angle or know what song you are going to buy the rights to in order to use it in the film you are making - but those things come into play after the script is written. It's another step. When I look back on my old scripts I shot on 16mm, the script was the script and on the facing page I had storyboards and shot diagrams. And there were notes scribbled in the margins of the script on anything else that might be important.

Another thing about using the standard format, even if you are making the film yourself, is that you will be showing it to actors and crew people - and want it to look like a script. You may be funding the film, but the cast and crew will be used to a normal script, so that's what you want them to see. You don't want them to think "This is one weird looking script!"

- Bill
 
wcmartell said:
Well, if you are directing and funding the film yourself, you can do whatever you want... though, as I'm sure you know from experience, one of the things standard script format does is make it easier to schedule and budget.

And the reason why books (mine included) and other info sources don't go into the directing stuff is that it *is* directing stuff - and is not part of the screenplay. You can visualize an angle or know what song you are going to buy the rights to in order to use it in the film you are making - but those things come into play after the script is written. It's another step. When I look back on my old scripts I shot on 16mm, the script was the script and on the facing page I had storyboards and shot diagrams. And there were notes scribbled in the margins of the script on anything else that might be important.

Another thing about using the standard format, even if you are making the film yourself, is that you will be showing it to actors and crew people - and want it to look like a script. You may be funding the film, but the cast and crew will be used to a normal script, so that's what you want them to see. You don't want them to think "This is one weird looking script!"

- Bill
Click to expand...

Sorry I think I came across a little vague. I was mainly talking about when envisioning the scenes itself, I'm not talking about necessarily noting it down, because obviously a certain script format has to be followed for cast etc.

I'm talking about whilst writing the screenplay, or even the whilst planning the scenes before the screenplay, I tend to imagine all the filmic aspects and thus plan the scenes accordingly.
 
Script is for actors to learn their words.
For style, camera angles and etc. there is storyboards.
 
I'd imagine writing without envisioning will leave open a lot of things incase you change your mind. But usually, I'll write something knowing where I'm going to shoot it so that I can envision the angles, it makes writing a lot more fun and directing a lot easier. I direct all the scripts I write, so that's the only thing that comes natrual to me.

And yes, the reason they don't mention envisioning in screenwriting books is probably because it's a book about writing. If you have different director other than yourself, envisioning isn't necessarily controling the director, but it could limit him/her.

I never really thought about it before. How could envisioning really change what actually appears in the script?
 
In my humble opinion, there is story, and there is screenplay, they overlap of course. The screenplay should primarily if almost exclusively be visuals and sounds, because that is the only thing found in a film, and all written in present tense, active tense as much as possible. "She senses...", "He thinks...", "He smells an odd odor..." and such have no place in a screenplay as I can not see or those elements. Story of course is structuring it all as a hero's journey to include plot, goals, character, reversals, and drama (conflict). Not sure what you asking maybe, but I look at screenplay as those basics.
 
The screenplay should be all about the meat of the story. Character A does this which causes this. Music, shots, etc all come later. You have to have the meat of the story figured out before you can worry about any of that... I know this may seem contradictory as you also need to think in terms of images... but what this means is... film is a visual medium. Instead of saying something like:

Bob is morose and his mind tumbles into darkness as rain soaks the balcony and the cold steel of the .45 rests in his hand. The events of the night play back in his mind like an endless nightmare.

More like this.

Bob leans against the balcony as rain pounds his surroundings. He holds the gun loosely and stares out into the night. He furrows his brow and grips the balcony tightly.

So perhaps this is not such a great example...

Read other screenplays, NOT shooting scripts, like the original script for JAWS to get an idea of just how succinct and visual and to the point your action lines should read...

Brick is another excellent script that still conveys great tone and nuance.
 
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