Writing is difficult because it requires two contradictory abilities: Creating and editing.
The skill of creating allows our minds to play with thoughts and ideas. The skill of editing and polishing uses critical thinking to evaluate, eliminate what is unnecessary and to rework what is valuable to improve the story. Both skills are crucial. However, the editorial frame of mind is often where the screenwriter undermines himself.
No matter how much you don't want to. Regardless of how much easier it would be to just shoot off the first draft of your script and pray for the best, a script can never be overworked. The number one reason why so many screenplays get rejected is the simple fact that the screenwriter hasn't polished or edited his work sufficiently.
Your viewpoint will never enable you to edit and be ruthless enough to trim and polish your work as an industry pro who reads countless submission and doesn't see your work as a personal pet-project.
That's where The USAA can help. We will read and trim, and make notes wherever, with an unbiased viewpoint. We'll read-though for continuity problems. We'll read-through for typos and spelling errors. We'll polish dialogue and then polish some more.
A million dollar idea will not shine through the pages if the Reader doesn't want to keep turning them. If your script isn't written with a quick, straight-to-the-point attitude, then more than likely, it will find its way straight in the bin within 10 pages. No screenwriter wants to believe this, but it's true.
Reader's have a stack of scripts piled up on their desk waiting to be read. Why would they stay with a script that is hard to read or doesn't sustain their interest.
Every screenwriter is unsure when it comes to submitting their work, they delay, they reread, rewrite, recheck, sometimes this creates more headaches and creates even more delays. The hardest job a writer can have is editing his own work. Every word on the page is his baby. He's spent 6 months, up to a year writing and rewriting, how can he edit his work with a fresh and unbiased opinion. The simple fact is, he can't. He's too close to it, he will never get the same opinion on his work as a complete outsider.
With pen in hand, we will make the necessary notes directly onto the page and lined-through word deletions according to The USAA's Checklist below. Your script may end up looking like someone has played snakes-&-ladders on it, but it will be finely polished with an unbiased viewpoint.
The USAA Checklist
Every scene must have a purpose. If not, cut it.
Every scene must have conflict. If not, add tension or cut it.
Every scene must organically flow from the previous scene and into the following scene. If not, we will rework your scenes so that it does.
Is each scene consistently showing not telling? If not, we will strikethrough any interior mind words (keeping to the show-not-tell principle)
Are scenes in the right order? Would it be more interesting if a scene were moved or information in it was held until later on in the story?
Look to rewrite or cut any scenes, characters, dialogue, exposition, or prose that is clichéd or "on the nose".
Check to see that the first ten pages: (a) Set the story in motion with the 'inciting incident'. (b) Establish your main characters. (c) State the premise. (d) Set up the situation. (e) Reveal the characters needs and wants. (f) Set up the problem that the main character must confront and overcome. (g) Tie into the ending.
Make sure that the outcomes of the scenes, situations, sequences, or story are NOT predictable? Strikethrough the end of a scene to make it a swifter, cleaner exit (no scene wants to drag at the end)
Every story element introduced at the beginning of the script must be paid off by the end.
Does the tempo and pacing of the story build relentlessly to the climax? Or are there places where it lacks.
Externalized the inner lives of your characters? Audience's can read neither your scene descriptions nor the minds of your characters.
Every major character arc must have a beginning, middle, and end. No sudden character shifts or transitions without a logical basis that is shared with the audience.
Every character has to have both a purpose to the story and to their scenes. If not, cut them from the scene and/or the story and give any of their pertinent business to another existing character.
Are the scenes shootable? In other words, If it's in the descriptive, but it's not in the action or the dialogue, then it's not in the picture.
Eliminate lengthy stage description, camera direction, unshootable scenes?
Correct format, spelling, page count, etc.? |
