Typos, Spelling Mistakes, Grammar

It goees without saying that evrything you write do be free from typos, spelling mistakes and grammar poor use.*

When a reader gets a script from the spec pile, they usually don’t have a clue who the writer is, or where the writer comes from. The script is going to be representative of everything the reader’s going to assume about the writer’s personality, talents and abilities.

To this end, some common mistakes and typos appear to suggest the screenwriter is not quite up to the task of writing a good script. Some of these blemishes are not immediately suggestive of a hack wannabe but are usually indicative of someone with a poor regard for the basic use of the English language.

In a fit of writing momentum, even the best writers may type you’re when they mean your, but that’s why proof reading a script is important. Ideally, don't proof read your own script. Get someone else to do it. Somebody you trust and can rely on, whether it be a professional proof reader or a friend. Script readers usually make equally good proof readers, so they're probably the best point of contact.

A total of one or two typos in a script may not be too disconcerting. However, when a script has a spelling mistake in its opening sentence, and then continues to pepper the description and dialogue with typos and dodgy use of grammar, then, well, it's really distracting. Nine times out of ten, the story on offer is just as erratic, and the script becomes an easy PASS for the reader.

Getting the basics right can go a long way in ensuring a positive response to your script. Why not take the time to make sure that your script is wearing its Sunday best, and then no-one can complain about the way it looks, the way it reads, or the way it's formatted.




*typos, spelling mistakes & grammmar in that sentence deliberately poor!

Screenwriting Bullet #14: Step Outline

AKA: SCENE-BY-SCENE DOCUMENT

A step outline (or scene-by-scene, or a beat sheet) is a document that describes what happens in each scene prior to writing the script. This is generally so that script editors and producers can see (and approve) what the story will look and feel like before the script has been written. They are most common (and often obligatory) in TV, and occur less frequently in film development.

There is no set format for a step outline, although it's fairly standard to number and list the scenes as follows (dialogue is sometimes added as a guide or flavour):

1. INT. DANNY'S OFFICE. DAY
Danny writes a blog post about what a step outline is. He takes a sip of coffee, and wonders about what he might have for lunch. His phone rings. Outside, an alien ship lands. Danny doesn't notice as he answers the phone. It's his agent.

2. INT. AGENT'S OFFICE. DAY
Danny's agent has some good news. He's been offered to reboot the Harry Potter franchise. She's sending over the contract immediately.

3. INT. DANNY'S OFFICE. DAY
Danny plays it cool with the agent but when he hangs up, he whoops and dances for joy. Outside his window, a creepy alien gazes at him with sinister intent. Danny freezes in shock when he sees the alien. The alien smiles. Danny gulps. The alien brings up a gun, and vaporises Danny to a pile of dust.

Plot, Narrative, Story

I once attended a script workshop and asked the tutor what the difference was between plot, narrative and story? He said they were all the same. This didn't make sense to me.

For me, plot & narrative are very similar in that they help build scenes and/or events to tell the story. But where I like to distinguish between plot and story is that plot is something that can be interchangeable for the wider needs of the story. For example, a car chase is plot, and could be changed to a foot chase or a helicopter chase but still serve what needs to happen in the story (the bad guy catching the good guy or whatever). Or, a guy having a big meltdown at work could be a nice plot moment but if a different scene in its place wouldn't suffice, then the meltdown at work is a vital part of the story.

The opening sequence in Raiders of the Lost Ark is brilliant plot but it could have been done in a number of different ways just as long as it established the bravery of Indiana Jones, and flagging up what kind of adventure lies in store for the audience. The narrative builds from the opening sequence in the jungle to Indiana lecturing at college, and then getting involved with the quest to find the ark. The plot and narrative elements start to efficiently build the story: what Indiana has to do.

Story is generally more concerned with the protagonist's compelling problem, opportunity or goal. When you pitch a film to your friends, or tell them about a film you just saw, you're essentially telling them the broad story; the vital parts of what the protagonist wants to achieve, and why, and what's in their way, and how it ends. Any specific detail is usually to do with plot and the narrative, which could be nice to highlight, but the story remains resolute in terms of the basic structure and purpose of what happens.

Over on Facebook, Jeremiah Quinn raised the issue of plot vs narrative vs story, as he was told recently that "plot is not story". And it's true, in a way. Plot helps to tell the story. It is not the story itself. But let's not give plot a bad rap. It will determine how suitably the audience is engaged in what's going on, and the narrative (from the Latin verb 'to tell') is the sequence of events from the plot that makes up the overall story.

All clear now? My work here is done...

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If you're going to London Screenwriters Festival in October, get £22 off your ticket with discount code SCRIPTWRITINGUK

Kevin Lehane, Grabbers interview

I recently did a podcast with Kevin Lehane for Industrial Scripts 'Insider Interviews' series, which you can listen for free HERE (email sign-up required).

(photo from MyPDFscripts interview with Kevin)

Kevin's the writer of new Irish/UK monster movie, Grabbers, so I talked to him about how he was in the unique position of writing a spec script, getting it sold, and getting it made, all within 3 years. Here's a clip where he breaks down what happens.

(LINK to listen to the clip. Click HERE for full interview.)

Grabbers has a killer pitch, which helped to snag initial industry interest: when an island off the coast of Ireland is invaded by bloodsucking aliens, the heroes discover that staying drunk and keeping their blood-alcohol level high is the only way to survive...

Check out the full interview, which is essentially two guys from Cork gassing on about the UK industry, like the bosses they are!

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Don't forget, if you're going to London Screenwriters Festival in October, get £22 off your ticket with discount code SCRIPTWRITINGUK