Screenwriting : Thoughts by Steven M. Cross

Hi Steven, if the dialogue and the acting are compelling, a dialogue-heavy script can be quite compelling. The first example that comes to mind is Glengarry Glen Ross. Is it possible to break up large, dialogue-heavy scenes across multiple scenes and locations?

There's a general 1 finger rule. If the dialogue goes past one finger width on the page, and it's not a monologue or something similar to that, you may want to trim it down. A look or gesture can be just as if not more effective than a line.

Michael, the issue isn’t long speeches. Generally, I use short , snappy writing. What I mean is like a five page scene with mostly talking.

Steven, I have read a lot of screenplays lately. Produced and unproduced. Modern-day screenplays. For a hundred-pages screenplay, the 'average' scene is a bit shorter than half a page. Then again, if most of your scenes are short, and you have (a few) long (GOLDEN) scenes, let us say max 3-5 pages. that would be fine. Just my two cents.

Hey, Steven! Once, I was advised to mix my dialogues / monologues with the flashbacks, where the same info is introduced but in a visual way, and when a flashback finishes, we go back to the scene, feeling refreshed, while it's actually the same dialogue/monologue happening. Hope it helps!

No one can answers this without any context. The only test is to have someone read it and give you feedback.

Dialogue can feel excessive when characters are explaining how they feel rather than showing it. In a stage play these things have to be put into words so the audience members in the back row understand what is going on, but on screen you can play with non-verbal communication between characters (body language, expression, reaction etc.). If you are wondering if the dialogue is becoming excessive, a good thing to do is to ask yourself “what is being communicated here” and “is there a different way to communicate this”? Sometimes a character not being able to express themselves can be more captivating to watch than a character that can.

I like that Ewan. " Sometimes a character not being able to express themselves can be more captivating." A great point for me to remember as well, especially writing a TV series. Thanks!

Steven, I would personally read the first scene of Tarantino's screenplay "Inglorious Bastards". Could (partly) answer several of your questions at once as it reflects about all that is said in this thread.

Rutger, I watched the scene. Not sure what to think yet.

Don't only watch it. READ the screenplay!! http://www.cinefile.biz/script/basterds.pdf

Or even better: SCREENPLAYED "Inglorious Bastards" it's not the first scene but the same principle.; https://www.facebook.com/watch/?v=461625637917660

I think apart from reading the scene in Tarantino's "Inglorious Bastards" you should read a lot of screenplays, produced or not, especially ones you think somehow reflect your screenplay's genre, setup, and dialog. Besides all that is already said in this thread. That's all I can say.

I have been reading several screenplays, and I find I'm drawn to the more experimental type script. Memento for example. I did reread the scene. It is amazing, isn't it?

People never just stand and talk. We are not like that. (I know people are sick of me mention this film) But when I wrote the hostage I had this problem. One guy strapped to a chair. Two guys questioning him for 90 mins.

So I added in the occasionally phone call to the outside world. Sometime we didn’t hear the call, but the person taking it had to walk away. The remaining people could have a conversation in private. I also dropped in acting hints. “James is barely holding it together”.

You have to find ways to break it up to make the read easier (mostly). I would read it out. The places I would naturally break, I would add something for the reader.

Tarantino always has tension mingling his big conversations. You sense something bad gonna happen when the talk stops, so you follow it through with attention...

Hi Steven,

It's difficult to answer the question 'what might be too much dialogue in an indie type film', without some context. Is this limited location, or multiple - what's the story about?

12 Angry Men, Glengarry Glen Ross, and more recently, Ma Rainey's Black Bottom are all examples of 'dialogue-heavy' films - but they are all adapted from plays.

Plays have different constraints to movies, therefore dialogue serves an additional function.

I think a rule of thumb, in regard to dialogue-heavy in your film - if you can show something visually, but have used dialogue instead - then it's dialogue heavy.

Yes Memento is briljant. Love that sceenplay and film!

I very much like the idea Rohit mentioned about storyboarding with stick figures- may give that a go myself!