2

The Timid Screenwriter (2)

Naturally, everyone knows you must keep your action lines in the present tense and use active verbs because you are in the moment with the characters as you are watching a film. But what are other qualities that would characterize the timid screenwriter?

(continued from Part 1)

I thought of 10 or so qualities.

1) Avoids Drama, Tension, & Conflict – I believe the key to timid screenwriting is what King said, that the writer makes decisions so “There is no troublesome action to contend with.”

This is what kills me about new writers. They dream and work hard to become a screenwriter, yet, they’re so reluctant to embrace drama. Hello? That’s screenwriting! And sometimes I think they deceive themselves when they’re writing happy warm scenes where all the characters are getting along because they’re feeling the happy feelings of the characters.

This is what kills me about new writers.
They dream and work hard to become a screenwriter,
yet, they’re so reluctant to embrace drama.

And they assume the reader will feel those feelings as well. No, they won’t. That’s when the reader will be falling asleep because there’s no drama, tension, or conflict. That’s what a story is. FADE IN and something’s wrong.

Or writers will just dip their toes into a conflict and then quickly get away from it, and I find myself telling them, “get rid of all that extraneous shit and dive right into the drama. That entire scene should be about the conflict!”

Get rid of all that extraneous shit and dive right into the drama.

Or in horror scripts, I’ll tell them to embrace the tension and fear and drag out the suspense to excruciating levels. That’s the fun of horror!

There’s another aspect of avoidance. Some writers keep themselves distanced from the action, too. An important scene would take place off screen. Or we would have to watch important action scenes from a distance. Like a battle scene observed solely from a mountain or men going down into a tunnel filled with monsters or something, but we’d be watching the action only on TV screens in a newsroom.

Put the reader in the middle of the action!

2) Passive Protagonists – Much has been written on this topic, and I’m sure my readers do not need this explained. Just as timid writers embrace passive sentences in novels, I think they also embrace passive protagonists in screenplays. This is where things are being done to the protag, as opposed to a protag being active and mixing things up.

One of my cigar friends is in sales and he says he gets up at six a.m., works out, and then gets into his office to “make things happen.” That’s a good protagonist. There are exceptions to this rule. I have few problems with Forrest Gump or Benjamin Button. But I’d have to say that new writers should master the art of the active protag first before delving into exceptions. You need to be established before people will be willing to embrace an exception like that.

New writers should master the art of the active protag first
before delving into exceptions.

3) Weak Antagonists – Even pros make this mistake, which at times can be just poor decision-making. But sometimes, with new writers, I think they make certain decisions to weaken an antagonist because they want to be accepted SO MUCH as a writer that they water down the antagonist to make it easy on the reader. That’s crazy! Readers WANT to go on that wild ride. They WANT to feel that tension and suspense. Otherwise, what’s the point?

Or maybe timid writers think that nasty antagonists will reflect poorly on their personalities because they want to be viewed as nice people. Fuhgeddaboudit! If you love stories, you must love a good strong nasty villain. Besides, the nastier the villain, the more satisfying the finale.

4) Excessively Pared-Down Dialogue and Action Lines – Some writers have read so much about “Show, Don’t Tell” that they’re almost afraid to write dialogue.

Look, your characters need to be alive on the page! There’s nothing at all wrong with dialogue so long as it’s good dialogue, which for me means forgetting about realism and aiming for layers and subtext.

Some writers have read so much about “Show, Don’t Tell”
that they’re almost afraid to write dialogue.

Also, some writers pare down the action lines to keep as much white on the pages as possible. There’s nothing wrong with action paragraphs either, so long as there’s a reason for every single word you write and you avoid incidental actions.

Follow Dave Trottier’s principles of keeping the action paragraphs down to four lines or fewer. It’s all good so long as it serves an important purpose.

5) Wrong Emphasis in Action Lines – Sometimes I think that timid writers pay an extreme amount of attention to the action lines and descriptions of rooms and incidental actions as a way of avoiding conflict. This is about HOW the scene plays out. This is about WHAT happens, not so much all of the little details you’ll see on the screen.

I once came across a script full of “maybes” in the action lines. “John (maybe) shoots Kate (or he stabs her or poisons her).” I said, “What the hell is going on with these actions lines?” Well, he had read an article that suggested adding “maybe” to the action lines because screenplays are a collaborative effort and this would invite collaboration. Are you kidding me?

It’s your job to figure out the story! I told the writer to stand up, straighten his back, stick his chin out and write, “John shoots Kate.” There. Don’t you feel better?

6) Thin Plots – There’s nothing wrong with starting out on a simple plot. In fact, there’s wisdom in starting out simple. But that doesn’t mean you should stick with one plot and nothing else. To do this risks stretching your story too thin. Throw in a subplot or two.

There’s wisdom in starting out simple.

7) Flashback Structures – With a few exceptions, I despise flashback structures.

There was a time when I was actively writing reviews on TriggerStreet that it seemed almost everyone had a flashback structure. I think this stems from a need to hook the reader early because they aren’t confident enough to think they can hold the attention of a reader through a normal 3-act structure. So they try to hook a reader by showing part of the ending first and then making that reader sit through 120 pages to actually see how the ending ends! Fuhgeddaboudit!

Do the hard work. Master the 3-act structure.

8) Lack of Trust in the Reader – I touched upon this earlier, but it’s worth repeating. An inevitable sign of growth in a new writer (and we all go through this arc) is in the area of trusting the reader.

Newbies and timid writers who haven’t developed the discipline of trusting the reader tend to over-explain simple things in the action lines or they over-explain obvious reactions in characters or they indulge in on-the-nose dialogue to convey obvious emotions we all know that particular character is feeling.

Over time, you’ll learn that you only need to explain something once (or not even explain it at all) and then move on because you know very well that your readers are with you, will get it, and will appreciate you more for trusting them.

9) Copy Instead of Create – Creating is what makes screenwriting so much fun! And I think timid writers tend to pull from scenes and techniques and style choices in other successful films (thinking that it will make their own story successful) as opposed to taking a concept and making it your own.

Just because a certain sequence or technique worked well in another film does not necessarily mean that it’ll work at all in the context of YOUR story. Sit back and ask yourself: “What’s the best way to tell THIS story?” “How can I tell this story in ways we haven’t seen before?” Brainstorm about ways you can be different.

10) I Can’t Think of Another One – What are your thoughts?

Hehehe

– Mystery Man

In his own words, Mystery Man was “famous yet anonymous, failed yet accomplished, brilliant yet semi-brilliant. A homebody jetsetting around the world. Brash and daring yet chilled with a twist.”

MM blogged for nearly 4 years and tweeted for only 4 months, then disappeared – mysteriously.

The Story Department continues to republish his best articles on Monday.

Here, you’ll also be informed about the release of his screenwriting book.

About the Author

Karel Segers

Karel Segers wrote his first produced screenplay at age 17. Today he is a story analyst with experience in international movie rights acquisition, script development and production. He has trained and consulted to filmmakers all over the world, including award-winning screenwriters, and Academy Award nominees. Karel founded this website, as well as Logline.it!, ranks among the most influential people for screenwriting on social media, and speaks more than a handful of European languages (which should come in handy in his present hometown of Sydney, Australia).

Comments 2

  1. Pontification does not make a good script.

    I have read a few scripts that open with a WHITE or BLACK screen and a voice over. The voice will tend to ramble on about some, supposedly, deeply philosophical concept. Then for 120 (or maybe 240) pages scenes play out without any structure, leading nowhere. A climatic scene is dropped in where the protagonist dies. We are then presented with the WHITE or BLACK screen again and the voice over concludes the “philosophical” discourse.

    STOP KILLING YOUR PROTAGONIST AND STOP TRYING TO MAKE A POINT.

    Entertain your audience. Layer the theme, plots and subtext. Let your audience meet you half-way and they can make up their own mind as to what the moral is.

    Anyone else experience this type of writing? Is it some kind of mental virus writers need to flush out?

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