I am taking a screenwriting class. I have written a couple of screenplays so it seemed like a good idea… and a way to find out if I had any clue what I was doing! For this class, we had to write a short film: exploring the division of the Acts, the important elements of the story arc – building tension, introducing the Pro/Antagonist, climax, resolution. I decided to use a short story I had already written as the basis for my script. The story was one I really like (not that I’m biased) and thought it would make a perfect three act, one set, short film. So I began. And discovered that it can be quite difficult to convert a story, even one you know by heart, from fiction to film.
The thing about film is that it is (duh) a visual medium. You can’t write a script that says “Michael thought for a moment, mulling his options over in his mind”. Nope. Can’t do that. How are we, the viewing audience, supposed to know that Michael isn’t just staring blankly into space contemplating his grocery list? Every thought the actor/character has must be conveyed through action or dialogue. Anger? He throws a chair or punches a wall. Depressed? He breaks down in tears. He can’t “think” that he’s depressed. For example, below is a comparison of the narrative versus the script version of the same scene.
I let her babble apologetically while I rifled through the hall closet for some clean towels. I was becoming agitated. I could feel tension welling up inside me like the tears of a frustrated child. I hated feeling this way, feeling out of my element. I told myself it was the suddenness of her appearance, her uncanny ability to reenter my life just when I thought I could finally move on. Or maybe it was irritation at my own weakness when it came to her.
And the script version:
Michael goes down the hall of the small house to the linen closet. Jessica calls after him.
JESSICA
I hope I haven’t come at a bad time. I wasn’t sure if I should call first or just show up. It was kind of a spur of the moment decision. But you always know how to… you know, fix things.
Michael winces at her words.
MICHAEL
(under his breath) Patience. Give me patience. I haven’t even heard why she’s here yet.
He takes a deep breath to strengthen his resolve, grabs a few towels from the closet and returns to the foyer. He hands Jessica two of the towels.
See how I had to remove all of Michael’s internal monologue? It ain’t easy! But screenplay writing has one great upside. It strips your writing to the bare bones. You are no longer telling the story, the characters are telling it thought their words and actions. In a film, you have to keep things moving along at a nice click or the movie gets boring. In a novel, you have the time to delve into backstories and subplots. On film, move it along!
Give it a try. Take a story you’ve written and turn it into a movie. Set your inner Spielberg free!
