Affordable Coverage, Edit & Critique Service: 09/12/12

Wednesday, September 12, 2012

Adapting A Screenplay from Literature

By Michael Rabiger

There is a constantly growing supply of plays, novels, and short stories that might adapt well to the screen. Good literature can however be a quicksand if you assume that the story will make an equally fine film. Effective adaptation may actually be impossible if you can find no cinematic equivalent for the author’s writing style and literary form. A story that relies on a subtly ironic storytelling voice, for instance, might be a bad choice because there is no such thing as ironic photography or recording.

Most of the criteria for judging material for an adaptation remain the same as those used to assess any script:

Does it tell its tale through externally visible, behavioral means?
Does it have interesting, well-developed characters?
Is it contained, specific, and affordable in its settings?
Are the situations interesting and realizable?
Is there an interesting major conflict, and is it externally dramatized rather than internal?
Does the conflict imply interesting metaphors?
Does the piece have a strong thematic purpose?
Can you wholeheartedly identify with its theme?
Can you invent a cinematic equivalency for the story’s literary values?
Can you afford to do it?
Is the copyright available?

Go forward and win!

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Editing is Murder

by JEANNE VEILLETTE BOWERMAN

The email pings. It’s your trusted script consultant. Yes! Maybe she loved your script. You open the message with hope and excitement:

“Script is great… but cut 25 pages.”

Slashing 25 words is one thing, but cutting 25 pages takes an entirely different approach. You’ll need Dexter for that killing spree. But when it’s done, your story will be free of everything that’s dragging it down.

Often people interchange the words “editing” and “rewriting.” Rewriting requires major story analysis, challenging your character development, plot, conflicts and subplots. Editing is the process after the rewrites. With a few tips, you’ll be as efficient as a serial killer.

To perform the perfect murder, you need to know how to clean up the crime scene. Start with the big stuff and wipe the fingerprints last. It’s the same for a script:.

1. Story structure: Have you hit all the turning points of the story? Have you pushed your protagonist to the point of torture? Is there too much fat and not enough action? Is your theme clear?

Take a good look at the story foundation and be brutally honest. Often in a first draft, we beat the reader over the head. Have a writer or trusted advisor read it to identify holes. But to be honest, this step is “rewriting” and should happen long before you start the detailed editing. Just sayin’.

2. Scenes: Each scene has to be meaningful, and hopefully, serve more than one purpose. If all it does is provide exposition of a character or a single plot point, it’s not developed enough.

Take each scene one at a time and ask:

Does it advance the story?
Does it add exposition?
Does it create a new conflict?

If the answer isn’t “yes” to two out of the three questions, sharpen that blade and kill the darling. But if there’s an important piece of exposition, find a way to add it to a different scene.Another trick for cutting scenes is to examine the flow of the story. Put each scene on an index card: Plot A on blue, Plot B on yellow, Plot C on green, etc. Lay them on a table and switch up the order. Some scenes fall away naturally.

*tip: put your dead scenes in a folder. You might need to revive them in later revisions… but ONLY if they work.

3. Start late and leave early: Now you have the scenes you want, make them late for the party. Once you think you’ve entered the room late enough, enter even later.Challenge each scene to serve its purpose in fewer words. Above all, choose the final line of the scene carefully. Does it leave the audience hanging, needing to know more? It should.

4. Action should mean action: Scripts are entirely different than novels. Less is more. No flowery, self-indulgent, garbage prose. Get to the point. Fast. Cut those adverbs and adjectives. Only write what the audience can see on screen. Period.

5. Talk ain’t cheap: Read every piece of dialogue out loud. Most people write rambling dialogue in early drafts. Make it sound natural in as few words as possible. If you can convey in ACTION what the character is spewing from their mouth, do it.

6. Divide and conquer: Read every line of action and dialogue as a standalone to determine if it is imperative to either the subplot or the main plot. With a 120-page limit (some say 110 is the sweet spot), there’s no room for fluff, except on the peanut butter sandwich.

Script consultant, Marcus Leary, once wrote a post advising screenwriters to use the 140-character Twitter rulewhen writing action and dialogue. Great advice.

7. Simon says, “go backwards”: Screenwriter Holly Nault Pillar taught me the trick of reading the script backwards, one line at a time. This way, you don’t get distracted and pulled into the story. You simply are an editor of words. Ask yourself, “Can this story be told without this line?” The fat will rise to the top.

8. Make it a silent movie: Remove all the dialogue… every single word. Then read the action as if it were a silent movie. This will force you to avoid the “talking heads” problem of exposition via dialogue. See what you can remove from speech and replace with action.

Once the script makes sense as a silent film, add back any dialogue that is needed. You’ll be shocked how much isn’t. Force yourself to be picky. Allow each character only one treat, e.g. a joke or throwaway line, but only one. Trust your audience to get it. Be careful not to use your only file of the script though! Create a new one just for this exercise.

9. Wordsmithing: ScreenwritingU, a top screenwriting instruction site, discussed rewrites in a recent teleconference. Their wordsmithing tips apply to editing too:

Give more meaning with fewer words.

This is the stage to pull out the thesaurus and change “runs quickly” to “dashes”. Or if you have a whole paragraph describing the setting, change it to a small descriptor, such as, “it’s red-neck heaven”.

10. Be quotable: Your script will pop if you create one or two lines an audience will be quoting for years. We’ve all heard Rhett Butler’s line, “Frankly, my dear, I don’t give a damn,” more times than Scarlett got married. You need to create that type of line in your own film.

ScreenwritingU recommends finding that opportunity by looking in the most emotional moments of your script. At the height of a moving scene, examine the dialogue. There’s your sweet spot. Make sure the line was set up beforehand and offers perspective, as well as heightening the emotion. FYI, ScreenwritingU periodically does afree teleconference on rewrites. I highly recommend it!

11. You have one chance to make a first impression: The opening lines of your screenplay introduce you as a professional. That first page should show your voice, talent and ability to grab a reader. By “voice” I’m referring to the style of writing that sets you apart from others. What makes your voice different? Don’t imitate other styles, find one that flows from you naturally… and trust it.

Every successful murderer has patience. If I’m too exhausted to edit, I put it down for a few days. It’s okay to walk away. In fact, I encourage it. I never edit a piece I’ve just finished. I’m amazed at the flaws I find a week later. If you are resistant to patience, remember, once a script is out the door and in a producer’s hands, you’ll be in their tracking system. Even if they pass on it, the company labels the quality of your writing. Don’t be a sloppy murderer. Impatience could cost you your career.

By the way, four days after receiving the email, I had cut the 25 pages. The script got tighter… and I didn’t leave fingerprints.

Note: Wednesday, September 12th, The Writers Store screenwriting webinar, 12 Things to Nail Down Before You Start Your Rewrite, is all about rewrites. Don’t miss it! Instructor Tom Benedek, screenwriter of Cocoon, has even more useful advice.

Go forward and win!

Logline Service

Screenplays

September 12, 2012:Screenplays Wanted

Hello Everyone,

These "writing gigs" were sent to me by email this morning. So check them out and see what happens

ASIA-BASED PRODUCERS SEEK FEATURE SCRIPTS

Asian-based producers seek completed feature-length scripts that 1) portray heroic Chinese characters 2) portray Chinese culture and/or 3) are set in China in the following genres: action/adventure, thriller or sci-fi. Successful scripts will be produced in China and will be vetted by the government so content should not be anti-government, glorify crime or contain explicit sexuality. Scripts with an identifiable rewrite potential to be set in China may be considered. Material already translated into Mandarin or pre-approved will be given very high priority. Budget is open. Both WGA and non-WGA writers may submit.

READ MORE HERE:

SEEKING SHORT SCRIPT

We are DoP/Director team, looking for a live action short script between 5-15 pages. Genre is not important. What counts is that it possesses something that is philosophical and existential, and deeply human. Plot should be interesting but secondary to an underlying, particular theme that is explored, and it would be preferable to have an open or interpretable ending rather than a moralistic, absolute one. Though we are open to meaningful quirkiness and irony, we're not interested in gimmicks, cleverness for the sake of cleverness, and prefer to read something that is personal and uncontaminated by commercial aims. If you have something that might apply, please submit a short paragraph synopsis as opposed to a logline, and not the entire script.

READ MORE HERE:

SEEKING COMEDY CO-WRITER

Looking for someone with broad range in comic styles to contribute to web series pilot. "Outside the box" is good. Please send resume, samples or links, examples of influences/favorite shows and films, as well as some idea of how much time you have to devote to this project. I would like to meet at least once weekly.

READ MORE HERE:

PRODUCTION COMPANY SEEKING INDIE BUDGET SCREENPLAY

We are an up and coming modest production company based in Los Angeles. We are seeking scripts that are low budget and have an independent feel. Preferably in the 1-2 million range. We are interested in all genres except horror and comedy. Please also include a logline and synopsis with the script.

READ MORE HERE:

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The Shorthouse Organisation - Seeking Psychological Thriller

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"The Shorthouse Organisation is looking for a low- budget feature film script which contains a suspenseful and engaging psychological thriller premise. It must also contain a lead role for a 30s something male and be UK based. The script should be well-structured and scenes should be working on multiple levels. Cinematic visuals, language and action are paramount and dialogue should be used to drive the story and reveal characters.

You will receive a writing credit on the film, a share in the back end profits and remuneration payable on the first day of principal photography. Please send a one page synopsis, tag line, and your biography to emma.alldis@gmail.com Please do not send scripts, these will be asked for if your synopsis fits the funding we have in place."

And here's your free Inktip job lead. It is exclusive to you as a Screenwriting Goldmine subscriber.

Remember, the only other way you'd see this job lead is by paying to become an Inktip Subscriber.

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Centrala - Seeking Animation Scripts with Poetic Style

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We are looking for completed feature-length animation scripts intended for a children's audience, i.e. ages approximately 7-12, but with a certain sensibility: The type of animation style we like is "Up" and the Hayao Miyazaki films. We are NOT looking for a fast-paced, lighthearted comedy like "Kung Fu Panda," "Megamind" or even "The Incredibles." Rather, the tone and pace should be more poetic, introspective and mature while still targeted for a young audience. We are not afraid of difficult subjects in the story. Also, we prefer stories that allow for more fantastical journeys or worlds.

Budget is open. Both WGA and Non-WGA writers may submit.

Our credits include 'Ve stinu'

To submit to this lead, please go to: http://www.inktippro.com/leads/

Enter your email address.

Copy/Paste this code: 2hx9hwkq96

NOTE: Please only submit your work if it fits what the lead is looking for exactly. If you aren't sure if your script fits, please ask InkTip first.

And that's it.

To your writing!

Go forward and win!

Logline Service

Screenplays