The Art of Script Editing

A Practical Guide for Script and Story Development

Karol Griffiths

• Editore: Creative Essentials
• Anno: 2015
• ISBN:
  9781843445081
• Argomento: Mezzi di comunicazione e arti performative
• Categoria: Sceneggiature per il cinema

'A clear, insightful and sensitive look at the work of script editors and screen writers' - Hossein Amini: writer of Drive and director of The Two Faces of January

The Art of Script Editing provides a comprehensive overview of this vital role, examining its responsibilities and functions during all stages of the development process, both in film and television.

Detailing the nuts and bolts of the job, it looks at what's required and expected, how script editors assess a script, their approach to working with writers and producers, and their input during rewrites and pre-production, and up to a project's completion. It also examines the ways in which writers and producers can benefit from working with a professional script editor as they seek to refine and communicate their vision.

The Art of Script Editing - A Practical Guide for Script and Story Development is a valuable resource for anyone developing a script no matter where they are in the process, for writers and producers interested in expanding their understanding of how a script is advanced, and for those pursuing a career in script development.

THE SCRIPT REPORT

SCRIPT REPORTS

SCRIPT COVERAGE

There are two kinds of script reports, each with a different objective in mind. The first is an evaluation of a script for a development executive, a production company or a producer. Reports for development executives and production companies, etc., are known as ‘coverage’ or ‘script coverage’ and what is required for those types of reports will vary from company to company. Most companies require concise notes that include a synopsis, direct comments as to the script’s strengths and weaknesses, and the reader’s overall evaluation. They usually ask whether the reader would ‘pass’ on it, meaning it’s not worth continuing to pursue, or whether the reader thinks it is commendable and worthy of greater consideration.

Consideration can take many forms depending on what specifically the producers or production companies are looking for. Some companies cultivate writing talent and others are only interested in filling their production slate. So, greater consideration can mean various things: it may simply mean that the script will be given a second read and considered as a potential project, or it may mean that, although the script itself is not right for the company, the writer shows great promise and is someone the producers should consider for other projects. In any case, coverage reports are vitally important to the process.

A word of warning:

Coverage reports are not intended for the writers, and script editors and readers will sometimes feel free to be less sensitive in these types of reports, but I warn you against that type of thinking. I recommend that you only write what you would be comfortable with the writer seeing. I remain sensitive in all my reports, giving honest, helpful criticism in a constructive and respectful way. I believe it is wise to assume that anything I have said or written will get back to the writer, and do not want to cause unnecessary harm or discouragement by being lazy or flippant with my observations.

DEVELOPMENT REPORTS FOR A WRITER

The second kind of report is done to provide a constructive critique intended specifically for the writer on their project. Reports written for a writer about their project (which may also involve working with a development team) require a much more detailed, analytical and diagnostic assessment of the work.

This is the kind of report we will primarily be focusing on in this book.

INVESTIGATING THE SCRIPT

If you were to consult with a selection of professional script editors, you would find what is also true of writers: that each works in their own unique way. I will go into detail here as to my personal process, but this is just one way – so adapt it as you see fit.

First, I find a time when I know I will not be interrupted. It’s important to me that I read the screenplay straight through as that will give me the best true sense of how the script is working overall. I shut the phone off and pretty much ignore any and all distractions in order to get a cohesive sense of the script.

As I read, I will visualise each moment of the screenplay. I’ll take notes as I go, identifying my emotional reactions and notate any sections that stand out as good, bad or indifferent. I will mark page numbers down next to my notes so that I can refer back quickly.

After I have read the script through, I will then write down all of my initial reactions. How I felt about the story: the characters, the theme, how the pace was, how the dialogue worked, if there were any logic problems, any story strands that need addressing, any outstanding questions that I have. I will also write down if I was bored at any point or found it difficult to understand any portions of the story or dialogue. I will consider how the story ended, if it was satisfying or if there were too many loose ends left.

I will then write a synopsis from memory. This will help to illuminate the strongest, and possibly weakest, aspects of the script and make it easy to see which scenes, themes and characters, etc., stand out. I will also try to articulate the premise of the story in terms of the dramatic conflict by asking:

• Who is the story about?

• What do they want/need?

• Why can’t they get it?

By asking questions, I will analyse the story thoroughly, making more detailed notes about how the elements of the screenplay are working, or not working. For example, if I don’t empathise with a character (and I am meant to) I’ll find out why. Perhaps there aren’t enough scenes with that character to involve me with them; perhaps not enough information has been given telling us that character’s motivation, and therefore their actions seem unclear. In this manner I figure out where the strengths and weaknesses are and seek solutions to any identified problems.

Writing the report helps me to diagnose where improvements need to be made, and how best to help the writer find ways in which they can strengthen weaker elements of the script. Once I have assessed the entire script I will write up a set of development notes.

INVESTIGATING THE SCRIPT – A CHECKLIST

• Read the script in one uninterrupted sitting. This will give you the best true sense of how the script is working overall.

• Make sure that you read everything – scene headings, action lines, as well as the dialogue. If you skip ahead you will not be able to visualise the complete story.

• Take time to visualise each moment of action in your mind.

• Take notes as you go. Write down anything that strikes you. Notate sections to review in depth later. Jot down page numbers for easy reference.

• Ignore typos, misspellings or formatting errors unless they make the story illegible. You are not proofreading the material yet – and at this stage of the process, minor mistakes are not important.

Some tips:

• Begin the report as soon as you have finished reading the script. The longer you wait, the less specific your notes will be.

• Write down what your gut reactions are. What you feel emotionally and what your initial thoughts and opinions are.

• Make notes about what expectations you had for the characters and the story – and consider how they progressed. Was it satisfying? This will help you find the central ideas and genre of the script.

• Write the synopsis from memory. This will help to illuminate the strongest, and possibly weakest, aspects of the script and make it easy to see which scenes, themes and characters, etc., stand out.

• Try to articulate the premise of the story in terms of the dramatic conflict by asking who the story is about; what they want/need; and why they can’t get it.

• Review your notes. Analyse the story thoroughly. Figure out where the strengths and weaknesses are.

• Seek solutions to any identified problems.

• After you’ve written down your initial reactions, remember to step back and try to be objective – initial reactions are very important and extremely helpful BUT that is only part of the job. A report of value is only going to be achieved by diving deeply into the story and examining the work from all angles – and that takes time.

WRITING THE REPORT

A script report is generally between five and ten pages long, and it includes a breakdown of the story and an assessment of the script’s suitability for production.

There is no set standard in the film industry for the writing of a script report, but Lucy Scher, director of the Script Factory in London, has established what I consider the best and most succinct way of organising the analytical aspects of a script report. She has also written a brilliant book that I highly recommend called Reading Screenplays: How to Analyse and Evaluate Film Scripts.

Every script report should include the following sections:

• Synopsis

• Premise

• Structure

• Character

• Dialogue

• Visual grammar

• Pace

• Conclusion

SYNOPSIS

There are three different types of synopses.

1. A synopsis the script reader/editor constructs for their script report in order to interpret and confirm the story concept with a writer.

2. A synopsis the writer constructs in order to clarify the structural elements of a story. Writers usually wait to write a synopsis until after the script is completed, and this is mostly for pitching purposes. However, it can also be a very useful development tool. If a writer needs assistance organising their thoughts early in the writing process, I will sometimes recommend that they start by writing one – even before they begin their first draft. (This is especially useful for less experienced writers.) A well thought through synopsis is an effective tool to help develop an idea. It’s not an easy task and writers often find it hard to distil their screenplay ideas down to such a shortened form. It takes discipline, but it is immensely useful in clarifying and focusing the central ideas of a story – and it will certainly be used once they start pitching.

3. A synopsis constructed as a pitching document, written by the writer (often with help from a script editor) and used to pitch the story or script in order to gain creative interest or funding.

Synopsis included in the script report

A synopsis is simply a brief description of the screenplay, but it is an important tool. Writing the synopsis forces you to distil the story elements down, examining if it can be presented clearly in a concise and logical way – with a beginning, middle and end. If it can, then that is a good indication that the story works. If it cannot, that usually means there are problems with the construction or concept of the narrative. This process will reveal where the complications and confusions exist – and help you and the writer decipher how to proceed.

The purpose of including a synopsis in the script report is to communicate to the writer how you are interpreting the work. The reader must earn the writer’s trust and that can only happen by demonstrating an understanding of the writing. Giving a synopsis will not only demonstrate that you are clear about the central idea, basic structure and themes of the work; it will also convey back to the writer how those elements are working and ensure you are in agreement.

Writing a synopsis for your writer

A typical synopsis consists of a plot summary of the screenplay that usually contains no more than three paragraphs, one for each act. The first paragraph sets up the story, the second describes what happens and the third reveals how it resolves. The synopsis should feature the main characters, what they go through during the story, their conflicts and obstacles, and the resolution.

Begin the script report synopsis by writing it in the same order as the screenplay.

Paragraph one should include the following information:

• List where and when the story is set.

• Whose story is it?

• Tell us the character’s situation at the beginning of the film and what happens to disrupt their lives and change their direction.

Paragraph two should include the following information:

• Describe what the character wants and needs now that the life-changing event has happened.

• Tell us what stands in their way, making the object of their desire dif...

Indice dei contenuti

• Cover
• Description
• About the Author
• Title
• Acknowledgements
• Contents
• Introduction: A Career in Script Development
• Responsibilities of a Script Editor
• Storytelling and Screenplay Structure
• The Principles of Genre
• The Script Report
• The First Meeting
• Asking the Right Questions
• Treatments, Outlines and Pitching Materials
• Script Editing for Television
• Rewrites
• Formatting Information and Technical Issues
• Professional Advice
• How to get Started as a Script Editor
• In Conclusion
• Suggested Reading
• Useful Resources
• Glossary of Film Terms
• About Us
• Copyright