Home > new.stuff: > Sex, Violence, & Hollywood > The Hollywood Market > VIP.info: > Craft: Screenplay Versus Novel

Craft: Screenplay Versus Novel

Novels are internal. Novels use wordy descriptions to entice the reader. Novels are more cerebral than screenplays, i.e., the novel demographic is the "reader" market, i.e., the intelligent consumer.

Mostly, movies are designed for a broader demographic. Studios want to grab the high school, college, and non-college demographic, i.e., they want to sell tickets to all types of people (even the moviegoers who don't read books).

So -> A screenplay works via a different dynamic than a novel. The wording in a script should be impressionistic, not realistic. A screenwriter must not generate too many details. Details bog the read down. Details make a screenplay too dense. Scripts have to be quick reads . . . with fast momentum. A good screenplay is not wordy, i.e., it's not about the writer's vocabulary. A dramatic story creates a bond with its non-reading audience via the manipulation of emotion.

Most screenwriters struggle to deprogram their over-writing per all they've learned in other formats, i.e., short story, novel, school essay.

Therein, the best advice for a novice screenwriter is to read scripts. Then read more scripts.

Under-write.

Under . . . write.

Professinal screenwriters could clutter their pages with too many words, but they choose not to do so . . . knowing that too many words are the "kiss of death" in a cinematic story. Sharp dialogue -> banter -> and story mechanics -> i.e., a dramatic unfolding vis-a-vis the power of emotion . . . is the key to a "hot" script.

Edit, edit, edit . . . down to the essence of the emotional flow.

Also, an easy way to enhance a screenplay's dramatic unfolding -> is to have the hero express his/her emotions to a friend, i.e., a movie audience wants to live vicariously through the lead character.

Novel versus screenplay. There's a big difference in craft.

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

Doc's advice -> click on ->

WRITING THE HOLLYWOOD STORY
WRITING THE HOLLYWOOD STORY
Crafting a story for Hollywood can be a daunting task. The required creativity is analogous to shinnying up a greased pole. But, not withstanding the improbability of such a feat, if a writer follows a few basic rules, then this defiance of gravity can be made somewhat easier.

Specifically, what follows are some broad generalizations which, if adhered to, can minimize the rejection factor. Also, it should be noted that these "in-sights" are recommended for both screenwriters and novelists.

First, the most important element of any movie is the dramatic unfolding of a wonderful story. Now, undoubtedly, this may sound somewhat obvious to the experienced writer; but, nevertheless, some writers do get seduced by unfocused plot-lines . . . which are quite tangential to the structural spine of their stories.

In other words, a good story always has a well-crafted beginning, middle, and end -- with a compelling conflict (i.e., a plot glue if you will) which continues to build until the final climax has, in fact, been attained.

Ergo -- this constant raising of the stakes is an essential element if one's intention is to write a popular story. Indeed, without a dramatic storyline, without the interaction of opposing forces (protagonist/antagonist) -> the transference of the core emotion will be weakened, i.e., a ticket buyer will not be mesmerized by the full power of the cathartic experience. If a story does not have an emotional hook, then the chances of its being made into a movie are slim to none.

Second, in order to insure the porfitability of a Hollywood movie, a screenplay's main character needs to have a sympathetic personality. Indeed, this is the "likability component" which bumps a story into the "commercial range."

To be sure, the studios are adamant when it comes to character portrayal. They want their stars to have heroic qualities, i.e., they want their leading men/women to function as heroes -> since this ego trait has become a vital marketing tool per its proven track record at the box office. In other words, the public has an insatiable appetite for the vicarious thrill of the hero's journey. Ticket buyers have consistently sought out such stories, over and over again.

Third, it is recommended that a writer use a contemporary setting. In other words, when a present-day setting is employed -> this lowers the production budget and makes the proposed film much more affordable to a larger number of producers.

Period sets and historical costumes require larger production budgets -- which, therein, lessen the chances that such a screenplay will make it to the silver screen.

Conversely, if a '90s story is crafted per the parameters of a small budget, this innate austerity increases the probability that a buyer will show interest, since low-end producers do outnumber high-end producers.

Also, writers should note that the movie business is a for-profit enterprise, in that the studios will not gamble on stories which are perceived to be unprofitable. To be sure, no company can survive in today's highly competitive climate without a positive cash flow.

So, that's a brief overview of the Hollywood market. And, be warned, there will always be the exception to these across-the-board generalizations. For clearly, in such a high-stakes game -> there are no guarantees when it comes to the dos and don'ts of what a writer should or should not write.

Thereupon . . . having stated this agent-esque disclaimer . . . here's one last tip: Hollywood has an unquenchable hunger for pre-sold markets. In other words, if a studio is considering a $30 million production . . . it will consistently (nine times out of ten) -> give preference to a story that has a proven market. Indeed, the odds-on favorites will always be the bestselling novels, popular stage plays, or highly publicized news events. < (c) 1999 > ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

Click on -> "Can't Get Your Story Published?"