White space is your total BFF, and the key to an easy read. Every now and again, you can describe something that helps to round out a character, but keep it brief and rare. This is the biggest culprit to distinguishing between an aspiring writer and a professional one.
These examples are not exactly what I mean - because they are not only without dialogue but even without any natural normal noises at all.
You want to cut: No Tom Clancys allowed! Check out lists of classics that were made before or around then. Cartoons like Tom and Jerry, Road Runner, etc.
It will be a contemporary film playing here and now. Entire scripts, as a rule, are like poems. So you want a good, quick balance of both dialogue and action. We can see the carnage in our heads, and all in very little time and page space.
As long as you can balance action description that only tells us what we need to know with the dialogue, it will keep that speeding script on full throttle. For instance, if he drinks a lot, or is always fixing his hair or keeps a pack of cigarettes rolled up in his sleeve — even though he never actually smokes.
Now, a side point I want to make about this, and what Sorkin does so well in one of my other favorite shows, Sports Night, is he uses quick back and forths to set up one brilliant monologue. How they get by on their day to day life.
She angrily wipes away a tear before slamming the journal down on the table. This is an example I encountered when reading a script recently: Elisabeth Meier 3 years ago Okay.
This is how aspiring writers need to execute their script if they are to be taken seriously. Erica and Phil - thank you very much for the links both are very helpful! Partly because they rename and synchronize the films in Germany. Things like humor, vanity, selfishness, selflessness, etc.
Every paragraph of action lines should be 3 lines or less. I know of course all animations live by fake noises and music. The characters talk in quick, snappy sentences. Lots of more contemporary animated shorts are also free of dialogue.
So, use this to your advantage. Okay, I know you guys are smart. These are the big things, the ones in our very core — to love, to be loved, to be powerful, to be respected, etc.
Clever dialogue is found in quick back and forth exchanges, not prose-y speeches.
And though this is an action script, yes, these ideals apply to all genres. Remember the format, always. Aspiring screenwriters can impress by doing one thing: Even though I was an avid reader, I thought I was looking at a foreign document.
What your character DOES. Over time, as I read more and more screenplays, I began to understand the ebb and flow, the rhyme and reason.2.
DIALOGUE. First, let’s touch on some basics: Too Much Dialogue. A script is not a play – your goal is NOT to have dialogue that looks like a bunch of monologues. Try to keep 95% of your dialogue lines to 3 lines or less. Clever dialogue is found in quick back and forth exchanges, not prose-y speeches.
10 Amazing Screenwriting Examples of “Less is More” and it can be difficult sometimes for script readers to keep up with it, but this moment is essential in establishing the evolution of these two characters’ relationship and seamless in its execution.
Not a single prop is wasted and even without dialogue Hoskins’s emotions. Most readers read very fast. And the more power they have to greenlight your script, the faster they read. Scripts are scanned more than they're read, so long descriptive blocks kill the read.
Each block is like one shot. One piece of information per block, then move to the next one (not always, but most contemporary scripts read this way).
I'm writing a short script, a two page "epic" in fact, that has no dialogue, so the script just describes what is seen and the sounds that are heard.
Because I don't have any dialogue and all the action takes place in one location, I've ended up with several large blocks of descriptions and it doesn't look right. THE THIEF () was made by an Oscar winning screenwriter and has no dialogue. Though THE ARTIST has dialogue in title cards, THE LAST LAUGH has no title cards - it's all told through the actions of the characters.
It's going to be tough to find a recent film without dialogue, but many recent films have very little dialogue. It strikes me as pointless to have the presence or absence of dialogue be an essential characteristic of your screenplay, regardless of subject or genre.
For instance, Stanley Kubrick’s science fiction drama A Space Odyssey has about 38 minutes of dialogue in a movie that runs minutes. So it’s safe to say it has “little” dialogue.Download