Scene Rewrite Checklist

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  • Scene Rewrite Checklist

    Well, a hundred posts later and not a pro in sight... :lol Anyway, I figured I'd start a thread on scene reconstruction to put in FAQ later for reference. Seemed like a good idea.

    I'm in the middle of a rip apart examination of a script on a scene by scene basis. Generally, when I get into this I'll take each scene and go over the following for each:

    1. Is there conflict and does it emerge naturally?
    2. Who controls the scene... leads it? And if no one... why?
    3. Does every word count? Can something be cut?
    4. Can any idiot understand it and what it's trying to do?
    5. Does it work on subtextual, emotional and visual levels.
    6. Is there any On The Nose?
    7. Is the dialogue short, sharp and to the point?
    8. Does everyone stay in character?

    I'm actually going to have to print that list out to refer to so I'm not forgetting something with each scene, but before I do I thought I'd ask this...

    When doing a scene by scene analysis of your own scripts...

    How do you attack the scene? Is there something that could be added to the above list? What exactly do you guys do to each scene during rewrites that works?

    Let's call this a brainstorming session so everyone can put it all together and come up with their own format to rip and tear...

    Thanks for the input...

    Dan

  • #2
    Re: DHS, Leo, Martell... Pros...

    I'm assuming this isn't a very good question, and definitely one that shouldn't have been written on a Friday...

    Anyone else care to chime in???

    Otherwise this is going to be the most viewed thread on DD with absolutely no response...

    Comment


    • #3
      Re: DHS, Leo, Martell... Pros...

      it reminded me of the list ron bass gives to the ronettes:

      What are all the things that are going to go into the scene?
      Whatâ€TMs everybody gonna feel?
      Whereâ€TMs the start?
      Where does it end?
      Whatâ€TMs the informational content?
      The emotional content?
      The dramatic tone?
      What are the character changes?
      Whatâ€TMs everybody thinking and feeling?
      Whatâ€TMs the setting gonna look like?
      The Conflict or tension

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      • #4
        Re: DHS, Leo, Martell... Pros...

        1. What is the purpose of the scene?
        - Central conflict
        - Minor conflict

        2. Does every action and word spoken advance the purpose in a way that reveals more about the story and characters while at the same time raising my interest with questions and expectations? (new info, deeper understanding of known info, reversals of situations and understanding of known info)

        3. What is the bare min of that action and dialogue that the scene needs to advance the purpose?

        4. Is there continuity of time, place, tone, pacing and theme?

        5. Is there an image system?

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        • #5
          Re: DHS, Leo, Martell... Pros...

          See what happens if you take the scene out of the screenplay.
          Then see what happens if you take a beat out of the scene.
          See what happens if you take out a speech
          a line
          a description
          a word.

          Basically what that does is force you to justify every speech, every action, every word. If you pull it out and big chuncks of story are clinging to it, then it needs to be there. If it comes out clean, it probably needs to go.

          Personally, I think a "reverse engineering" approach like this can help you become a more intiutive writer because it makes you understand how things function in your script and soon that becomes second nature.

          You have to be careful doing a Q & A with yourself about a scene because you can get too in your head and start making excuses and justifying things -- telling yourself the answers you want to hear. You won't do it consciously, but you might find yourself saying "yeah, the theme is expressed clearly here" when you aren't really sure. And if you open the hood and start tinkering, you might realize that this particular scene doesn't need to address the theme. I guess that's what I mean about becoming intuitive vs. applying a checklist.

          Using the "what if I cut this?" test, might also make you expand a scene. You might realize you've got something really good that's being thrown away because it doesn't have a setup or a payoff or whatever. I've discovered great stuff I didn't even realize I'd put in the story this way.

          Other than that, the scene should either quicken your pulse, make you laugh, or make you feel something clearly. Or all 3

          my .02

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          • #6
            Re: DHS, Leo, Martell... Pros...

            *pasted from Hamboogul's comments*

            Your initial list was pretty good. I didn't think any pros would chime in (if they read the post) because it was a good starting point.

            Only thing I'd add is that you shouldn't be afraid to throw away scenes that you found to be "awesome". As the stories evolve, some characters and scenes must be given the boot.

            Be brutal in the rewrites. And ignore Mstraughn's seven step rewrite program.

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