Script Editing - The Missing Link

clive

clive

There is always a massive amount to learn about writing screenplays -- structure, character development, formatting, dialogue etc.

But regardless of how much we learn as indivduals where as writers and indie film makers we really fall short is in understanding the importance of working with a script editor.

This has never been a major part of indie film making and it's fair to say it shows in the end results.

No matter how good we are as writers there are a number of things that are always going to be true:

1) The first draft is NEVER going to be perfect
2) The second draft is NEVER going to be perfect
3) The third draft is ... well, you get my point.
4) We are always going to believe that every draft we ever write is damn near perfect! :lol:

So, the question is how do we get from draft one to draft three/four/five and at the same time make progress with each draft.

In the industry they solve this problem by hiring a professional to read the script, make notes and feedback to the writer. The writer then demonstrates the fact that they are a professional, by listening, seeing that the script editor is right 99% of the time and then going away to fix the problems in the next draft.

As indies where we often fail is that:

1) We don't seek professional advice
2) When we do, we go in expecting the reader to respond with "This is the greatest script I've ever written" rather than coming back with constructive criticism.
3) We take the criticism personally and throw a hissy fit!

Personally I'm not sure which is the most damaging. Not putting a script out to read often means the first time that the script gets critical feedback is at the Premiere (Ouch!)

But the folly in seeking advice and then throwing a tantrum ranks right along side not seeking advice at all.

I understand it, I've even done it myself in my early days of working with a script editor and I think I understand why it happens.

As a screenwriter I used to doubt my abilities -- I wanted to be a good writer, but wasn't sure if I could hack it -- This meant that I found professional criticism hard to hear, because it confirmed my unworthyness -- I couldn't hear the useful information, all I could hear was "You're not good enough."

Now, the second I stopped wanting validation for my work from others (well, I've turned the volume down on it anyway ;) ) and started to see writing as a process, then all my resistance disappeared. I now love meetings with my script editor, because I know each time is going to help me make the next draft even better. I will leave the meeting a better writer.

Filmy constantly reminds us that developing as writers is the most important thing we can do as indie film makers -- he's right -- and one of the key elements in that development process is forming a relationship with a script editor.

It's a win-win situation because not only do you improve as a writer, but you also end up making better films -- and in this game cheap pre-production spends turn into larger post-production profits.
 
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There's nothing better (for me, anyway) than working within a developmental arena as a writer. What a bonus to get feedback on my scripts. Now, I know from experience that you don't have to 'take' every note - but it pays to listen closely to anyone who gives you feedback. Especially pay attention to that voice in your head that responds to a comment with 'No f -n way! That comment is waaay off.' When you have such an emotional response, most likley there's something there. Calm down... and spend a few minutes thinking about what was said and why. You will probably find gold.
 
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I agree, but as a rewrite is just time spent exploring the text, it makes sense to take all the notes as if they were correct, rewrite to the notes and then make a judgement after the rewrite.

You can always go back to the previous draft after writing an "alternate" exploratory version.

I think this idea of writing exploratory and alternate version of scripts is so wild a concept to most writers that they won't even consider it as an idea.

Often they see the development process as a series of linear steps through the drafts, rather than a mult-faceted exploration of the story.
 
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In high school, I was a behind the scenes editor for the school paper. I got all the stories that came in late. I was handed them and a red pen and told to make them ready for publication. These were talented writers, but the stories almost always needed to be run through for spelling (before spell check) , grammar (mostly tense matching) and punctuation (don't get me started about colons and semi-colons clive ;) ).

A few times though, I ended up rewriting passages that just didn't flow well or made no logical connection with the stories...since they were late, they gave up the right to do their own final edit ;) All in all, I think the writers appreciated this work as it made them look better as a writer since it was still credited to them. They often asked for the red marked copy to see what I had done and asked questions if they didn't know the grammar rules.

Due to this experience, I never feel it is my right as a writer to not listen to any feedback I'm given whether I agree or not. As brutal as I was editing then, I absolutely respect brutal honesty when it comes to getting feedback on creative endeavors. I temper this with the knowledge that tastes differ, but if the point is valid, there is no reason to ignore it.

Often artsits have difficulty disconnecting the content on the page and the background work that is developed in their head. The audience will never see the internal information the writer has. If it's not on the page it doesn't exist, this makes an audience viewpoint absolutely invaluable.

Editing will make or break a good story. period.
 
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"As a screenwriter I used to doubt my abilities -- I wanted to be a good writer, but wasn't sure if I could hack it -- This meant that I found professional criticism hard to hear, because it confirmed my unworthiness -- I couldn't hear the useful information, all I could hear was "You're not good enough.""

I completely agree with this. The first time I used my script consultant, I was expecting him to lavishly praise my script. Instead I got loads constructive criticism, including questioning whether the entire premise of the movie was viable. Not exactly what I wanted to hear. But, I kept at it and with each new time he's read it, there's less criticism and more compliments. Now I'm at the point where we both believe I'm about 1 draft away from having a solid script.

All writers are insecure. Largely, I think, because of that first experience of showing your work to others. You have a tendency to think it's better than it is, and thus that first experience is often a big blow to your faith in your writing ability. I think that writers that make it, writers that develop their craft, have an underlying faith that they can become a good writer. It's like you're insecure but confident at the same time. If you don't have that confidence, those insecurities will kill you.
 
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All writers are insecure. Largely, I think, because of that first experience of showing your work to others. You have a tendency to think it's better than it is, and thus that first experience is often a big blow to your faith in your writing ability. I think that writers that make it, writers that develop their craft, have an underlying faith that they can become a good writer. It's like you're insecure but confident at the same time. If you don't have that confidence, those insecurities will kill you.
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I think this is actually the key. The truth is that writing is a CRAFT and like any other craft it has to be acquired like a skill.

One of the prevailing ideas is that writing is a "gift" and therefore immune to improvement.

I just don't believe this. I sincerely believe that writing can be learned. Anyone can develop into a competent writer.

As a dyslexic I know that even spelling isn't really an issue -- it is an obstacle that can be overcome, as can an understanding of grammar.

The insecurities seem to me to come from a failure to see writing as a craft -- because once you make that leap, then the criticism is seen as way of getting to grips with your craft rather than an indictment of your gif
 
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