Question : When writing my screenplay, I frequently find the urge to describe a character's emotion. However, I have read somewhere (I forget where) that this should be left to the actor to some extent, the actor should understand the story enough to know how their character would respond to events. What is the correct thing to do?
Example: Let's say that, in the opening scene, Bob, who we barely know, sees a smiling ghost. Then the scene ends. Bob could be scared, or he could be excited, or he could not care. As the writer, I know I want Bob to be scared. Should I ...
A) Write ‘Bob is scared’. (This purveys Bob’s emotion, leaving the actor to react as necessary, but I haven’t written any visual cues)
B) Write ‘Bob looks scared', (This purveys Bob’s emotion, leaving the actor to react as necessary, but I have given a very vague visual cue)
C) Write ‘Bob freezes on the spot, mouth gaping open, eyes bulging.’, (I have detailed the visual elements of Bob's fear, but is this too explicit and not leaving anything to the actor?)
D) Write nothing! (The actor decides how Bob should react based on the entire script, even though a first-time reader of the script may not know how Bob would react because they are new to the script).
E) Something else?
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In my limited experience you want to convey the emotion without over directing actor. I.E. A or B would be okay. That being said, your character facing a ghost is a phenomenal opportunity for character development through their action and their response. Are they trembling? Putting on a brave face, cowering? You can describe their reaction and still give the actor plenty to go on. I know that's vague, but you get to have fun with it. Hope that helps!
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I see. I think you are arguing that I should describe a reaction as long as it's not too precise (like option C in my question is).
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Depending on Bob
Fear crosses Bob’s face.
Bob frozen in fear
Shaking with fear.
Bob struggles to hide his fear.
You can say what the character is feeling as long as it can be acted.
Things like “Bob remembers the first time he saw her” is a no no.
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Ooh, thanks Craig, that makes sense. :)
Anyone else have an opinion?
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In my opinion (and only my opinion), if the scene is pivotal you may wish to have the actor deliver a memorable line here which the actor and the director both should have some sense of the subsequent reactionary emotion that goes along with that. If it just a passing scene, simple lines like "Bob reacts fearfully" will not only define the appropriate response but also allows (again) the director and actor both their version of the best delivery based on the character development setting. Just an idea. Cheers mate.
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I would briefly describe his emotional reaction to the proper degree (like, "horrified"), and then describe the subsequent action. It saves page space and keeps the story moving forward. So I'd write it something like:
"Horrified, Bob ducks under the table. His head slowly rises up. The Smiling Ghost waits." or "Horrified, Bob bolts through the gangway. He hurtles the gate, and falls hard to the ground. The Smiling Ghost approaches."
There is not so fine a line in describing reactions. If it's an obvious reaction, there's no need to state it, unless I want a "no fooling!" as a reader's reply. If it's a surprising reaction, I'd state it to convey that intent. Either reaction is going to lead to the next action of What Happens Next? I'd also make sure I use the strongest word I could for "scared."" Horrified...petrified....terrified are more impacting than "scared", or "frightened," at least to me.
Best fortunes to you in your creative endeavors, Andy!
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Thank you for everyone's responses thus far. Keep them coming.
As a supplementary question, what would you recommend I write on rare occasions where it makes perfect sense for an actor to only do a subtle facial expression? For example, James receives some information from David that makes him suspicious of David. I just want to make clear to the actor to be subtle, not act like he is believing everything David is saying. For example, is it acceptable to say specific facial expressions such as 'James squints his eyes in suspicion?'
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Don't tell us how a character feels but instead show us how they feel through their actions.
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Yes, give emotion but keep it simple. Pithy. The context of the action and the scene, and/or the dynamics between characters should inform a reader (or actor) what a character is thinking or feeling as well. No need for melodrama on the page. You don’t need to describe every little thing either. Just give enough to paint a visual image in the mind of your reader or create a clear sense of what is being felt through action, through dialogue, through subtext, etc. Perhaps read some horror screenplays and see how others use words to describe fear or emotion. Most are pretty straightforward. One word sentences work well too. From It Follows: “She stares. Focused. Terrified.” From Hereditary: “Peter opens his mouth to scream, but all that comes out is a muted gust of air. Tears well in his eyes.” And: “Peter freezes, sensing something behind him. He slowly turns.” About suspicion, sure, you could describe a facial expression, like: “His eyes narrow.” Or: “James throws him a dubious look.” Or maybe if the reaction is more incredulous perhaps something like: “James scoffs.” ;) Hope that helps some. Best to you, Andy!
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... KINDLE has great resources for writers. I bought both of these books for like, nine bucks.
EMOTIONAL BEATS : CONVERT YOUR WRITING INTO PALPABLE FEELINGS by Nicholas Rossis......
EMOTION THESAURUS: A WRITER'S GUIDE TO EXPRESSION by Angela Ackerman.
I agree with points that @Bill @Beth raised. Keep the description of emotion to minimum expletives, but strong and impactful. Instead of using commonly used words, scan Thesaurus Eg instead of Horrified “His face blanched whiter than the apparition in front of him..” “Cowed into total subversion, he froze, breathless but screaming inside.” Then follow with an applicable action. Action may just be subtle or more on epoch scale, depending on context of script, but protagonist needs physically react. Also adding an object to an action line, can enforce powerful subtext in depicting emotion. Eg Picking up the Scotch decanter he begins to pour, but most of it ends up outside the glass, because his hands tremble so violently. (Shows physical shock). OR He rushes back to his desk, collapsing in the chair, his back to the ghost and both eyes tight shut. Its a minute before he dare slowly open them, clocking the photograph stood proudly in front, his grand award ceremony for entrepreneur of the year. Suddenly he grabs it and stands up, violently smashing it to the ground. (emotional shock revelation). He realises in that moment, everything in normal life previous is screwed, as he breaks the photo of his once perfect world. Above examples, not my best, (sorry) but rushing this answer off while in transit and don’t want to miss participating in this thread. Also the whole crew has a job to do, visually depicting, CHANGE in Status Quo of character. Eg Camera tracking in and out, extreme close ups at emotional beats etc etc. Eyes can say a lot when showing fear. Sound is crucial and can be used to “play the music inside characters head” rather than just a backing track. Off course there is Actor/Director input but too great a topic to skim on here and now!
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Also great suggestions from @Shawn
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Thank you to everyone who replied! Lots of great answers. Collating everything I have learnt together, I feel like Beth's answer summarised the way to go the most. :)
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It’s unhelpful to tell an actor “be funny” or “be scared.” This is too abstract. Rather you get results by giving an actor a specific action. Tell them to “antagonize” or “entice” a screen partner. I think this extends to writing. Rather than describing a specific emotional response, sometimes it’s best to describe what the character is doing or wanting to do and the actor can decide which emotion is best.