Monthly Archives: July 2013

Writing is Rewriting V & VI

Shiny shoes

Style & Polish:

In these final two revisions of your screenplay, or novel, we look at style and polish.

Some Elements of Style:


A consistently even pace, whether fast or slow, makes for monotony. Go over your entire story and ensure that there is sufficient variation in pace. A fast scene or sequence is usually followed by a slower or quieter scene to allow readers or audiences to take it all in. Additionally, there should be the same kind of variation within some, if not all, the scenes themselves, for much the same reasons.

Tonal Consistency

Do your characters belong in the same screenplay or novel, or do some seem to spring from completely different styles or genres—romantic comedy, science-fiction, historical drama? Although contrasting characters are a good thing, they should not appear to have walked in from the pages of different stories. This tonal consistency goes for the look and feel of settings and costumes, as well as dialogue and overall imagery. Even a cross-genre film such as Cowboys and Aliens attempts stylistic consistency across these disparate genres.


Do your scenes end and lead into each other? If not, use the device of comparison to glue them together more effectively—similar or contrasting dialogue, movement, lighting, and the like.


What is the specific emotion you are aiming for in each scene? Have you achieved it? Remember—believable characters with believable desires in believable situations and relationships make for believable emotions. Look for the pitch of the emotion, then tighten it.

The Final Polish

You are now ready to go through your entire script, line by line. Is this or that word, gesture, or description the best you can come up with? Have all grammatical, spelling, and typographical errors been eliminated? If so, your story is ready to present to the world. Good luck!


Your fifth and sixth drafts concern the elements of style and polish, after which, your story should be ready to be released into the world to fend for itself.


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Writing is Rewriting IV

Dialogues gentlemen talking across a tableThe famous screenwriter William Goldman once said: “A good writer is not someone who knows how to write—but to rewrite.” In this forth post of our five-part series, drawn from Raymond G Frensham’s book, Screenwriting, we turn our attention to dialogue.

The Art of Dialogue

Good dialogue is never just about relaying essential information—moving the plot forward by fostering the outer journey. It’s also about the inner journey of the characters; its about revealing the reasons why characters act and say the things they do—the subtext that reveals their motivation.

In reviewing your characters’ dialogue look out for the following problems:

1. Are your scenes flat and listless? Are they governed by dialogue that lacks pace, spark? Try injecting emotion, humour—yes, even in drama, a prediction, a challenge, or replace it with silences in which we are shown rather than told things.

2. Is the dialogue in a scene interchangeable between characters? Could I take a phrase from one character and put it in the mouth of another without anyone noticing? If so, your cast and the way they speak, their viewpoint, background, and values, are not unique. Could you imagine interchanging the dialogue of Bart, Homer, or Marge Simpson? Of course not! That’s because these characters are strongly and uniquely defined. Re-examine your own character biographies and ensure that your characters are individuals driven by their own goals. Each character should have his own way of speaking that simultaneously reflects both his inner and outer journeys.

3. Are the major dialogue exchanges in your story governed by contrasting values, conflicts and innuendo? If not, they ought to be.

4. Does your dialogue ramble? Does it meander, seem unnecessarily “talky”? Cull unnecessary dialogue and pare down what remains to the bone. Good dialogue is sharp and precise and moves the plot forward while revealing the reasons for the views and actions it expresses, through subtext. (Please consult this blog for additional posts on subtext in which I provide specific techniques for creating vibrant, interesting dialogue that bristles with verisimilitude).

5. Try not to express plot and intent through direct on-the-nose dialogue. The cinema is not the place to showcase your skill as a soliloquy writer. Can you reveal plot through subtext rather than through direct statement? If you can, do so without hesitation. “I saw your girlfriend kissing a toy boy in the kitchen at your birthday party,” is better than “I’m sorry to hear that you and Marcy aren’t getting along lately.”


Writing good dialogue requires a good ear and an understanding of the medium you’re working in. Listed above are some of the pitfalls to avoid when rewriting dialogue during the forth draft of your story.

