Quote: Chimes of Freedom @ February 6, 2008, 11:23 PMIf it matters, put in it.
If it doesn't, don't.
Shit, we agree.
Lets splash champagne about like they do in Formula 1.
It's as simple as that. End of.
Discussion.
Character descriptions in a script Page 2
Probably been mentioned before but I think if you've got a one-legged bloke with a eye patch it helps to mention it at the start. Or if for instance the caption on someone's T-shirt is referred to in the dialogue it helps to know that at the start. Otherwise smaller points might prove difficult in casting when it isn't really necessary.
Quote: Griff @ February 6, 2008, 11:36 PMI did pick that as an extreme example, but never underestimate the number of interpretations a skilled actor can put on a text. They can read a role in lots of different ways, all supported by the same set of words. It never ceases to amaze me the number of writers who don't like to put "KEITH, AGED FORTY" in the script, but will then knock themselves out trying to convey that information in pointless dialogue about how Keith bought a famous era-defining album on his twentieth birthday or whatever.
And NEVER I repeat NEVER give line readings. Occasional italics perhaps but don't patronise actors in scripts.
Well, my view is they put parentheticals into Final Draft for a reason, and I don't mind using them. I never saw an actor offended by them. I just looked at a random Frasier script and in one scene I found (sotto), (politely), (happy), (strained happy) and (concerned). If you find you have to use them for every line then you've got a problem. But actors would rather say a simple line like "What now ?" and convey the emotion through intonation than have the writer put "What now ? I'm really angry with you" just to spell out the emotion.
Obviously in an ideal world the emotion "(angrily)" should be evident from the context. But an actor could just as easily decide to deliver the line "What now ?" despairingly, and if it's really important that he doesn't, then point it out is all I'm saying.I guess it's just a matter of judgement and we'll have to agree to differ on this one.
EDIT:
(politely and nicely)
As an Equity member myself, you are spot on Griff. There are dozens of ways to say dialogue...even 'goodbye' can be said in so many ways. It is helpful to have a short direction in parenthesis such as you pointed out 'angrily' 'sadly' etc.
At auditions, I feared the new scripts and if one wasn't given enough time to read it before the audition, it was very difficult to get it as the writer intended.
Some actors are good at cold reading, I never was.
I almost wrote an episode of a well known TV series a few years back, unfortunately the series was cancelled before the opportunity became a reality.
Part of the process was being given DVDs to watch and existing scripts to read; and one thing I noticed in the scripts was a whole load of parentheticals, and I mean a LOT of parentheticals.
Loads of specific direction too.
Coming from a film background, I queried this and was told rehearsal time in TV is so short the scripts tend to be more specific. So I guess the parenthetical thing depends on what format you're writing for.
As to character descriptions: there are no hard and fast rules. I think basically what everyone's said is fair enough; but there is a bit of leeway in character introductions. It's one of the few places in a script where it's okay to include a little bit of extra information. As long as it creates an image, it's fine.
"Hasn't bought any new clothes since 1972"
creates an image; but
"Eats cheese on toast every Tuesday evening"
doesn't.
One other thing to consider, something I've learnt recently: you may want to describe a character as short, fat and ugly - but an actor has to play that part and it's not very nice for them to receive that script.
Imagine if that's you and your agent tells you the role's perfect for you - it's a short, fat, ugly guy. It doesn't hurt to be nice.
Quote: Chimes of Freedom @ February 7, 2008, 11:20 AMOne of the UK's most successful sitcom writers will advise you ALWAYS to include a direction with speech, if you want the words said in a particular way and there's any possible doubt as to how you want it said.
Other writers, of course, are happy to leave it all up to the production crew.
I read an interview with Graham Linehan who said don't do it.
It should be obvious how's it being said. And if something got past the pilot stage to a series you wouldn't need to as you'd probably find you'd tailor it to your cast.
Too many ( ) looks messy, that's why I stick to occasional italics.
Sure, it can be done sparingly but not ever other line or something.
On a somewhat random and not terribly important note, I thought that you were supposed to underline rather than italicise for the few times when you illustrate emphasis?
Quote: James Williams @ February 7, 2008, 1:24 PMOn a somewhat random and not terribly important note, I thought that you were supposed to underline rather than italicise for the few times when you illustrate emphasis?
Er, I wouldn't because you underline scene headings and character names above dialogue - but you won't get thrown out of a production company meeting for it.
The best advice I've heard regarding scriptwriting is to write like you're describing the film/programme to a blind person.
Personally, I don't include any physical descriptions of characters in a script. Nor do I give dialogue emphases apart from the very occasional italicised word where it is absolutely needed. I would also suggest as little stage direction as possible.
I think in general the fewer words (both direction and dialogue) you can tell your story and make your jokes in the better. If your writing is good enough you won't need to condascend or lead your reader. Most readers are writers themselves and credit them with some intelligence and imagination.
Your characters' age and physical attributes should not be a major concern in your script. Your reader should generally be able to imagine your characters through your writing alone. Also, it allows your reader scope for further enquiry. If things are absolutely key to your characters and their situation, which can't be elucidated in the script, then I prefer to include those details in my covering letter/script overview.
Quote: Chimes of Freedom @ February 8, 2008, 8:40 AMIf it matters, put it in. If it doesn't, don't.
It sounds great but the major problem with a maxim such as this is its total subjectivity. What matters to one writer may be considered totally inconsequential to readers or other writers.
Surely a set of clear and objective guidelines is much better and less open to interpretation among the consumers of the piece?
If we're talking about character description within the directions rather than directions themselves, maybe a good start would be:
Only include if absolutely critical: Does not knowing this information threaten the piece?
Limit yourself to physical characteristics.
Avoid it as an excuse to tell, rather than show.
Any one else got guidelines or want to amend?
I'd just add Elmore Leonard's Ten Rules for Writing, there's some good pointers there.