Do you need to explain everything?
Well do we? Should we?
As I continue to work through my current rewrite, looking carefully at the importance of each scene, I am also searching for sections of scene description that could be reduced. One of the things that Lucy Hay mentions in this post about Revitalising your Scene Description is the “rule of halves” and cutting down unnecessary description. Why use 20 words when you can use 10? Why use 5 lines, when you can convey the same information in 2?
So I have been trying to cut out the superfluous ramblings and flowery language that is taking up white real-estate on my pages. One of the aims of this rewrite is to try and get my page count down below 100 (from 109) and, by being ruthless in this way, I have managed to get down to 103 pages by about a third of the way through. So it seems to be working.
But what am I talking about?
Simple stuff really.
For example, a passage can easily be reduced in terms of word count, but upped in terms of impact and flow. Take this example from the script I am rewriting. It conveys the scene perfectly well, so we know what is going on, but it is four lines long (my personal, absolute limit) and is a thick slab of words – in short, it is clunky:
Daniel attempts to throw a punch, but Keiron grabs
Daniel’s wrist with one hand and pulls a flick knife out
with the other. The blade is closed but held against
Daniel’s neck. He pushes Daniel back against the lockers.
But this easily becomes:
Daniel throws a punch.
He pins Daniel against the lockers, one hand on his throat, the other pulls a knife.
Punchier? More dramatic? Definitely conveys the same information.
I know which I prefer…
In the same way description can be superfluous, whole scenes can also present unnecessary words. I found two sequential scenes this morning that involved the protagonist and his father in the living room of their house. The father is asleep while his son phones his mother (who recently left) and then sneaks out of the room to phone his girlfriend on an extension upstairs.
This took a full page to describe. Not much space in the overall scheme of things, but every page counts. Besides, and to be honest, far too much of it is simply me, the writer, “telling” the audience what is happening; it doesn’t leave anything to their imagination.
As the son has already been given his mum’s number in an earlier scene and, a few scenes later, meets her, we can be safe to assume that he called her. Or she may have called him, we don’t know… but it really doesn’t matter who called who – the meeting is the important thing. The audience will make the leap, provided the “gap” in the telling isn’t too wide, leaving too much to the imagination.
This way, the scene in the living room becomes superfluous and gets cut, leaving just the second scene to play out. The second scene was just a convenient way to link to the next scene in his girlfriend’s bedroom where she (well, you’ll have to read the script to find that out….)… and they start a conversation. I am fairly certain I can probably cut out both scenes and jump straight to the girlfriend’s bedroom without losing the audience.
So more action has been cut because, if I am perfectly honest, it isn’t really action. It’s just dull description of events leading up to the action. I guess you can see it as “action” and “reaction” – if we can suggest the “action” and show the “reaction” our scripts can be cut down to much leaner lengths and the real action of the screenplay will flow more cleanly.
So, when you are in rewrite mode, think carefully about your description and scenes, do you need them? Do you need that level of description and “telling” the audience, or will it be more fun to “show” them what is happening.
Actions and Reactions….
Posted on April 20, 2016, in Learning, Reading, rewriting, Structure, Uncategorized, Writing, writing exercises, Writing Rules and tagged action, description, edit. editing, rewrite, rewriting, show don't tell. Bookmark the permalink. Leave a comment.