This is so helpful, I always forget stories are experiences meant to be felt and not just some wikipedia page spewing facts.. I can sometimes get into so much trivial descriptions when writing that I forget there's a person behind the words. This is probably one of the most important things I need to keep reminding myself of from now on. Thanks!
Thank you ! Your videos are so timely. I have been trying to figure out how not to overwrite a specific scene. I just couldn't get it; left it and came back a few times; still couldn't get it. Then BOOM! I saw this video and it came to me. Any constructive feedback is appreciated (by anyone). SARAH(20's/F) Leans in closer to the camera OLIVE has positioned directly in front of her, letting some purple strands of hair fall over her shoulders. Behind her in frame, her studio - that looks exactly as you would expect if Willy Wonka and Chuck-E-Cheese had a baby - perfectly designed to highlight the Sponsor of the Day perfectly..."Authentically". Sarah stares intently - directly at the camera in front of her. Eyes shifting from laughter to dead serious
@3:04 You changed the tone. The first description felt homey, like a place that may be old, but is well-loved. The others felt disdainful, like you're judging the occupants for having bad taste.
Hello. What about underwriting? Do I have to make the characters interact with the enviroment so that the reader doesn't feel a dialogue is happening in a void? Thanks!
You can. Usually action pieces like that take the place of expository dialogue. (It's also a much better way of revealing elements within the room) But only reveal the elements that make the room different from the norm. If it's a standard living room, writing "living room" in the slug line should suffice. But if the couch is big enough for twelve people to lay down comfortably and it actually is necessary for the scene, add it in. But if it's just a big couch and the characters never even sit, don't bother.
For underwriting, it's a matter of clarity. The reader / audience needs enough information to know what is going on, what is the geography, and similar things... but without going overboard. If anything is uncommon AND relevant for the story, mention it. It's fine. No one's throwing you in screenwriter jail. But if they get confused? They might continue on a bit to see if it gets resolved, but too much confusion? They're done.
Is it a good idea to disperse the details of a room throughout the story, like adding a little expository description of a chair or a bookshelf in dialogue tags or something like that?
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This is so helpful, I always forget stories are experiences meant to be felt and not just some wikipedia page spewing facts.. I can sometimes get into so much trivial descriptions when writing that I forget there's a person behind the words. This is probably one of the most important things I need to keep reminding myself of from now on. Thanks!
Go Jake very Very good
It was very Very good
Thank you ! Your videos are so timely. I have been trying to figure out how not to overwrite a specific scene. I just couldn't get it; left it and came back a few times; still couldn't get it. Then BOOM! I saw this video and it came to me. Any constructive feedback is appreciated (by anyone).
SARAH(20's/F) Leans in closer to the camera OLIVE has positioned directly in front of her, letting some purple strands of hair fall over her shoulders. Behind her in frame, her studio - that looks exactly as you would expect if Willy Wonka and Chuck-E-Cheese had a baby - perfectly designed to highlight the Sponsor of the Day perfectly..."Authentically". Sarah stares intently - directly at the camera in front of her. Eyes shifting from laughter to dead serious
very useful
Brevity is the soul of wit.
@3:04 You changed the tone. The first description felt homey, like a place that may be old, but is well-loved. The others felt disdainful, like you're judging the occupants for having bad taste.
Hello. What about underwriting? Do I have to make the characters interact with the enviroment so that the reader doesn't feel a dialogue is happening in a void? Thanks!
You can. Usually action pieces like that take the place of expository dialogue. (It's also a much better way of revealing elements within the room) But only reveal the elements that make the room different from the norm. If it's a standard living room, writing "living room" in the slug line should suffice. But if the couch is big enough for twelve people to lay down comfortably and it actually is necessary for the scene, add it in. But if it's just a big couch and the characters never even sit, don't bother.
For underwriting, it's a matter of clarity. The reader / audience needs enough information to know what is going on, what is the geography, and similar things... but without going overboard. If anything is uncommon AND relevant for the story, mention it. It's fine. No one's throwing you in screenwriter jail. But if they get confused? They might continue on a bit to see if it gets resolved, but too much confusion? They're done.
Is it a good idea to disperse the details of a room throughout the story, like adding a little expository description of a chair or a bookshelf in dialogue tags or something like that?
Only if they matter for the story. If things don't matter, move on.
👍