Screenwriting : Screenwriting Tip by Maurice Vaughan

Maurice Vaughan I often have to take a breather, come back and reread. Removing myself from the equation as I reread adds another layer. Great tip.

Thanks, Leonardo Ramirez. I do that too. It's like going back to a script with fresh eyes.

And bonus tip for everyone: If you think your work still doesn't make sense (after you do the tip I posted about), get feedback on your script and ask the person to focus on that area.

My first screenplay is available right now by the way. What I've done, personally, is review it, not just for myself, but for other readers. I don't instantly put myself in their shoes, but for me, it's all about logic.

You're right, Marcel Nault Jr. It's all about logic. A reader pointed out illogical things in my script once. I was blown away because I thought everything in my script made sense.

This is one of the biggest thing I see when people are frustrated with their notes or coverage. A writer will say, they skimmed my script, or didn't read it completely, because the reader asks questions about something the writer thinks is clearly portrayed. "I clearly state 'this' on page xx." That's not the same as having a flow or ensuring a reader actually understands what's happening!

Good tip

Certified Reader here if anyone would like to give it a whirl.

Great reminder, Maurice! One strategy I employ is to trace back a reveals or concepts or plot points to where it’s been referenced. It’s very easy to gloss over important details since we know them in our heads.

Good point. Table reads often help, some years ago we were doing one & actress (experienced West End) said it didn’t make sense to her albeit perfect sense to me. Also for “crucial” Reveal/Relationship line/Shock/Plot point I add subtle reminder as prelude obviously not written as they first appear. EG Suppose a major reveal is coming, reader needs remember stakes, conflict etc. I may add a short unobtrusive subtle line of dialogue that nudges reader’s memory but they don’t register it at the time. A seed, rather than a bold obvious statement

Debbie, I was going to say a similar thing. As part of my strategy, before I even expect my script to be complete, I would want to do a table read. To illustrate how important networking is, I attended a film making event and made a connection with someone at LAMDA (London Academy of Music and Dramatic Art). His students would be happy to do table reads and as mine is in the YA space it's an ideal environment for it.

@Greg Great you have talented thespians to do reads & it’s captivating to see script turn into characters. Drama students are so enthusiastic I find, bursting with passion for their chosen craft and don’t lock down easily. Back in the day I did LAMDA medals (live stage) but would have enjoyed more film scripts especially meeting the writer.

Thanks. This is great advice!

Newbie here at Stage32. Is there a space here for weekly table reads, or is that something organized during community building in chats and the writers room? (Pandemic years have been oh so isolating.) Table reads are such a powerful tool for not only the writer, but the readers and listeners. I say Yes, please.

Great point, Niki H.

Thanks, Craig D Griffiths.

I like that, Ty (trace back). Thanks for the idea!

Yes, a table read. Definitely, Debbie Croysdale. I had a scene read at a virtual table read once. Some of the dialogue and action sounded wooden/stiff, but I wouldn't have noticed if I didn't have the scene read. Great tips! Thanks for sharing!

You're welcome, Wendy.

Welcome to the community, Rhonda. There's a weekly Coverage Report in the Writers' Room (www.stage32.com/writers-room). The Coverage Report is every Monday night. I think there are guidelines to get your script read at a Coverage Report. I’m checking with someone from Stage 32 about them. I’ll let you know what I find out.

If you want, you could organize a virtual table read like Nathan Waire did (www.stage32.com/blog/stage-32-community-brings-project-to-life-over-zoom...).

Just a reminder that there is an acting lounge full of people to network and create with! There have been several table read partnerships between the screenwriters and actors from Stage 32. Hop in there and ask.

I had to think about this one a bit. How do you right something so that makes sense to someone else? It would help if you knew their sensibilities, but those vary greatly from individual to individual. One person’s sense might be another person’s nonsense. There’s also the problem of writing from the context of understanding everything about the story as the writer, beyond what you’ve confined to the page. Sometimes what you’ve written appears rich to you because story knowledge fills in the blanks. Then when someone without that story knowledge reads the script it lands as vague or has holes. Unless it’s actually on the page, it can’t figure into story. There are a ton more variables that we can’t hope to cover in a script. I’ve had the experience, like many others, of one reader getting it and another not getting it at all.

I find table reads to be very helpful, if you can get decent people to commit the time.

Great tip Maurice!

True that. :) Reading aloud helps me when I'm trying to assess if the text makes sense.

@Ben Johnson, Themes that humans find compelling, you'll see this in many films. For example, family. We've all experienced this as we have all been part of a family. Our experience of it will be different. Some will be bad and some very bad. These are universal. Love or lack of love is also an experience we all have and so many stories have them woven into the story because we can relate to these. Sometimes story knowledge is a bad thing when the perspective you seek is from the audience's point of view. Then stepping back is required. The trick is to look at the script as if you didn't know what was happening next! I guess that's where script coverage comes in. Those who read scripts for a job ought to know what works and what doesn't Ultimately, we're all writing screenplays so they can be made into films.

Ben, I think it all starts with the pitch. This is the perfect entryway for a reader to have the prior knowledge of your story before receiving the script or the treatment firsthand.

Great point, Ben. I agree with Marcel and Greg.

Ben, what you're saying deals with the tip I posted, and what you're saying also deals with reader opinion/subjectivity, but my tip is more about writing scenes and action lines.

Example: I might write an action line about a character reading a text. I know the character is reading a text, but I might fail to mention "text" in the action line. I might just write "His phone vibrates. He scans the screen, reading." The reader could think he's reading an email, the news, a text, etc. so the action line might not make sense to the reader.