VOICE-OVER Narration as a Transition Between Scenes

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  • VOICE-OVER Narration as a Transition Between Scenes

    I understand that a spec script is supposed to avoid a lot of the fancy extra-tricky stuff and just tell the story. I am working on a farcical comedy with a writing partner and we try to be accomodating to one another's "absolute bugaboo's" about writing. So here's the problem...

    We have a scene near the beginning of our story with a character alone in her apartment, reading a letter from a favorite eccentric relative. So far, we have seen this main character only in her "normal world." She is about to be thrust into the world of the eccentric relative.

    As she reads the letter to herself, I envision this scene as hearing the relative in VOICE-OVER, speaking the words of the letter, continuing with this narration as the visuals change from the character in her apartment to the relative's eccentric world, seeing that world and the things the continuing voice-over narration describes in the letter.

    And then the character's reading is interrupted and we move on to something else.

    I like the feel of this, it works for me and it also works for my writing partner BUT my partner says it is an ironclad rule for spec scripts to NEVER ever use VOICE-OVER or flashbacks. Not that it can't ever be done right, but that so many new writers have done them so badly or unnecessarily, that when readers see the dreaded word VOICE-OVER or FLASHBACK, they groan and wish they'd been assigned a different script to read.

    So... how evil a deed is it to have voice-overs in a spec script? And, could anyone suggest an alternative?

  • #2
    I can't suggest an alternative but I will disagree with the "rule" that spec scripts should NEVER us VO.
    Most beginner writers should avoid it until they understand and learn how to do it well.

    VO is one of the many tools in the writers toolkit. Use it well and wisely.

    If it works for you and your partner then go for it. Write it.
    Then let it sit a little while. Come back to it.
    If it still works and nothing else has come to mind then post it and we will be more then happy to rip it and you to shreds.
    Unless, of course, you are pretty darn good (and I for one think you will be) then we will be forced (kicking, screaming, and swearing ) to tell you that it works.

    We will then all brace ourselves for the sudden explosion of VO's used to start newbie scripts.

    Oh wait, this is all ready a common flaw.
    Never mind, it won't change anything.

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    • #3
      BUT my partner says it is an ironclad rule for spec scripts to NEVER ever use VOICE-OVER or flashbacks.
      Tell your writing partner he/she is wrong. There is no rule like that, ironclad or otherwise.

      so many new writers have done them so badly or unnecessarily, that when readers see the dreaded word VOICE-OVER or FLASHBACK, they groan and wish they'd been assigned a different script to read.
      Trust me, readers groan about a lot more than just VO and flashbacks in new writers' scripts. For instance, I would say unbelievable, one-dimensional characters doing idiotic, contrived nonsense for the sake of a ridiculous plot is a much bigger pet peeve.

      Look at it this way:

      Let's say you've written a kick-ass script. You have a great concept, compelling characters, memorable dialogue, a unique, strong "Voice," challenging themes, the perfect tone, pace, setting, etc.

      You also use the voice-over as you've described it. And you use it well.

      How do you think your reader(s) is(are) going to react?

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      • #4
        Re: voice-over

        The device that you're referring to is
        different than the "voice-over" that
        can often register complaints.

        The use of voice-over to read a letter
        is a common device and rarely offensive.

        The "evil" voice-over is the kind that
        narrates the story.

        When voice-over is done well - it can
        be very effective (think GOODFELLAS
        and A CHRISTMAS STORY).

        But often voice-over is done very
        poorly - with characters telling us
        what happens instead of the writer
        dramatizing the events.

        It is poorly written voice-over that
        Hollywood rages against. And since,
        more often than not, it is done badly,
        the advice is to stay away from it.

        But this is not the case with the
        reading of your "letter."

        In "spec" writing, I'd be more concerned
        with the choice of genre. "Farcical"
        comedy (though a vague description
        here) is not usually a big seller - when
        compared to more "mainstream
        comedies." (LIAR, LIAR is about as
        "farcical" as one wants to get in a
        spec script.)

        Ditto with "black comedy."


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        • #5
          Re: voice-over

          Thank you very much for all the advice.

          Just as an aside, one of the best uses of voice-over I ever saw in a movie (as brief as it was), was the Richard Dreyfuss character in, "Stand By Me."

          EDITED TO ADD: I guess the reason that example of voice-over worked so well for me as an audience member was because of its poignancy. I wasn't really citing it as an example of technical perfection although it might have been that, too.

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          • #6
            VO

            I recently saw The Barefoot Contessa (1954) with Humphrey Bogart. The narrative language takes up 80-90 percents of screen time. Unbelievable. Even if characters talk to someone, it's VO. Check it out.

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            • #7
              Yup, the "VO for a transition" is actually some kind of a sound bridge and it prevents the movie from becoming jumpy if the makers want to use straight cuts instead of wipes, dissolves, etc.

              Its also one way of controlling the rhythmic relationship from shot A to shot B... but in a screenplay maybe this trick isn't really called for

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