Writing Visually

Creative Screenwriting Magazine’s Danny Munso explains why it’s essential for writers to include their vision for the film in their script.

Screenplays are often described as just stage direction and dialogue. In some cases, this is the ugly truth: if you want to consider yourself a screenwriter, the bare minimum to earn that classification is to write something like ‘Dave goes downstairs’ and leave it at that. This is acceptable in some cases, but if you want to be not just a screenwriter but a successful one, you need to write visually.

What does writing visually mean? On a basic level, it means that someone reading your script can visualise the film you are setting out to make in their head. When you’re an amateur writer trying to sell a project, the difference between a bland script and a ‘visual’ one is almost certainly the difference between success and failure. Is it difficult? Absolutely. But, it separates the great from the average. Here are a few examples from some recent films to illustrate this point.

The current master of visual screenwriting is Quentin Tarantino. But it’s more than his plots or snappy dialogue; it’s his writing style. Tarantino allows his readers to share his vision. Here’s a short excerpt from the opening scene of his Oscar-nominated screenplay for Inglourious Basterds:

It is easy to equate Tarantino’s writing as closer to that of a novel than a script, and that thought would not be incorrect. The key line in this is ‘after living for a year with the sword of Damocles suspended over his head, this may very well be the end.’ Most writers are afraid to try something like this. Of course, for Tarantino,none of this is calculated; he is as ‘from the heart’ as any writer working today. This is not to suggest that we need a bunch of QT clones hammering out scripts around the world. You cannot imitate his style, nor should you. Tarantino impresses because his screenplays are uniquely him. Your scripts need to be uniquely you.

Do not be afraid to add touches of detail that seemingly don’t belong in a script. If it feels right to you, include it. Ideally, your best script is the greatest representation of you as a writer. Don’t censor yourself by trying to conform; if something pops into your head to include, that means it’s important to you to understand your work. It’s likely a reader will feel the same way.

As a screenwriter, your best chance for success with your script is if you make the reader feel something: if your story speaks to the human condition in an original way, then you have a great chance of getting a sale. But having a great emotional story isn’t all you need; it helps to write in such a way as to make sure the proper emotions get across in your script. Take this excerpt from The Lovely Bones, which was written by Fran Walsh, Philippa Boyens and Peter Jackson (based on the novel by Alice Sebold):

SUSIE is suddenly aware of GIRLS and WOMEN emerging into the clearing.

ANGLE ON: SUSIE curious …amazed … overwhelmed. Tears spilling down her cheeks – as MR HARVEY’S other VICTIMS slowly gather around her.

ANGLE ON: A FIGURE walks up to SUSIE …

CLOSE ON: An ARM wraps around SUSIE’S SHOULDERS in a COMFORTING EMBRACE … SUSIE turns … and sees HOLLY.

WIDE ON: Susie and HOLLY hug each other …

If you have seen the film, you’ll know this is a pivotal moment in the plot. Without spoiling the context, there are certain elements used here that you can learn from.

This trio of writers, who were of course also responsible for the seminal Lord of the Rings trilogy, always write with the camera in mind. This is mainly due to the fact that Jackson directs all of their films, but there’s more to it than that. The Lovely Bones is a tough sell. Though the book was lauded worldwide, it would prove to be a tricky adaptation. Jackson had studio offers lining his driveway, but he and his cowriters chose to write the film on spec. This was a risky venture considering that they put all their faith into the script and had yet to convince a studio to fund it.

So when they wrote, they had to pen the stage direction in such a way that anyone who read it could immediately see the unique vision they had for Sebold’s material. This is a tactic certain writers may want to employ. If you are unsure of the reception of your material, you cannot rely on sparse stage direction and dialogue to sell the project for you. Even if the dialogue is amazing, a screenplay is made into a film. If the reader can’t see a film, why should they recommend it?

Great visual storytelling can also effectively be used to set up a major character; one that has great importance to the film as a whole. Take this example of character introduction from the script for The Dark Knight, written by Jonathan and Christopher Nolan (based on a story by Christopher Nolan and David S. Goyer):

This is obviously the introduction of The Joker. Since The Joker is one of the most iconic characters ever created, the Nolans smartly crafted him a fantastic opening scene fitting to his character. The way it jumps off the page is something for screenwriters to take to heart.

The language is commanding. Even if you have not seen the finished film, you get the impression that this scene is important. The tension rises with almost every other line of dialogue. But it’s much more than that. Most of the scene direction is written in short bursts like this, both in this excerpt and in the entire screenplay. The way in which the Nolans are presenting the scene direction is allowing the reader to visualise the moment in their head That’s what visual writing is: it’s subtle, emotional and effective, and separates your script from the rest of the pile.

Remember to think of your script not as a guide for what needs to be shot, but an experience. Make your script an enjoyable 90 minutes for your readers and they will undoubtedly be left thinking, ‘You know, I can see this becoming a great movie’. For more information on Creative Screenwriting Magazine, visit www.creativescreenwriting.com

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This article first appeared in movieScope Magazine, Issue 17 (May/ June 2010)

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