Ladies and Gentlemen, there has been a lot of talk about my writing style and how I like to break each piece of action into its own separate line...
Well seems my style has caught on in many areas and it is more acceptable than others! And it's even got its own name - "Veritcal Writing" As I've said before, keep doing something long enough and people will either copy you, or make up something of their own that's even more outregeous.
Fortunately, this has become a style that is recieving acceptability, so I think I'll just keep on doing it!
Here's what Charles Deemer says of this style:
screenwritersutopia.com/modules.php?name=Content&pa=showpage&pid=2698
Now if you look at one example of one of mine, you'll see similarities - albeit, my script may not be the best, but we're talking vertical writing, not writing ability.
sorry how the formatting came out. It was the long text from the acticle, I guess.
Well seems my style has caught on in many areas and it is more acceptable than others! And it's even got its own name - "Veritcal Writing" As I've said before, keep doing something long enough and people will either copy you, or make up something of their own that's even more outregeous.
Fortunately, this has become a style that is recieving acceptability, so I think I'll just keep on doing it!
Here's what Charles Deemer says of this style:
screenwritersutopia.com/modules.php?name=Content&pa=showpage&pid=2698
Hollywood loves buzzwords, and one of the latest is "vertical," as in make your screenplays vertical. Like many buzzwords, this one is based on a fundamental truism: it is easier to read a manuscript that is "vertical" with lots of white space on the page than one that has great text density.
...who is going to read your screenplay the first time around? A harried reader, believe me. Readers are over-worked and under-paid. Trust me, I've been one. They also get paid by the script. Does this invite a slow, careful reading? Of course not. Their job is to fill out a form about the story -- called coverage -- and the more quickly they can read a script, the happier they are. Screenplays that invite vertical reading are loved by readers. In contrast, text-dense scripts requiring horizontal reading start out with one or two strikes against them...
Let me reinforce the point with an example. Here is a scene from one of my students:
Derek is walking across campus. All over, there are students reading copies of the official campus newspaper and Derek's magazine. One girl, ANNA KABIS, is laughing hysterically. She is young and beautiful.Derek stops and stares at her. A friend of Anna's is reading over her shoulder, a look of shock on her face.
This snippet has much to recommend it. The writing is clear and direct. But this is not vertical writing. Let's open up the text:
Derek is walking across campus.
All over, there are students reading copies of the official campus newspaper and Derek's magazine.
One girl, ANNA KABIS, is laughing hysterically. She is young and beautiful.
Derek stops and stares at her.
A friend of Anna's is reading over her shoulder, a look of shock on her face.
Notice how much easier this is to read quickly, to skim. Believe me, readers skim your script before anyone reads it carefully! This is, in contemporary jargon, a much more user-friendly version of the exact same language.
This is vertical writing."
...who is going to read your screenplay the first time around? A harried reader, believe me. Readers are over-worked and under-paid. Trust me, I've been one. They also get paid by the script. Does this invite a slow, careful reading? Of course not. Their job is to fill out a form about the story -- called coverage -- and the more quickly they can read a script, the happier they are. Screenplays that invite vertical reading are loved by readers. In contrast, text-dense scripts requiring horizontal reading start out with one or two strikes against them...
Let me reinforce the point with an example. Here is a scene from one of my students:
Derek is walking across campus. All over, there are students reading copies of the official campus newspaper and Derek's magazine. One girl, ANNA KABIS, is laughing hysterically. She is young and beautiful.Derek stops and stares at her. A friend of Anna's is reading over her shoulder, a look of shock on her face.
This snippet has much to recommend it. The writing is clear and direct. But this is not vertical writing. Let's open up the text:
Derek is walking across campus.
All over, there are students reading copies of the official campus newspaper and Derek's magazine.
One girl, ANNA KABIS, is laughing hysterically. She is young and beautiful.
Derek stops and stares at her.
A friend of Anna's is reading over her shoulder, a look of shock on her face.
Notice how much easier this is to read quickly, to skim. Believe me, readers skim your script before anyone reads it carefully! This is, in contemporary jargon, a much more user-friendly version of the exact same language.
This is vertical writing."
Code:
EXT. BROOKHOUSE COMPOUND - DAY An expansive fenced complex, stoic ivy covered buildings dot the landscape. Its lush rolling hills of green, weave up and through a golf course, rows of tennis courts and man made lakes. STONE PATHWAYS, lead to BRICK STEPS, which continue, UP, to DOUBLE DOORS -- a gold lettered, wood trimmed plaque on one, reads, BROOKHOUSE ACADEMY. Underneath, in small black letters, "Center for Cognitive Readjustment." INT. CLASS ROOM - DAY Sun rays through a four paned window, shine on a desk in back, burn the neck of SQUIRE DIXON, (17) small and squirrelly, his head down on his arms. The instructor, JACK DENARD, (39) "the old man," solid rock, knowing eyes, a touch of grey at his temples, notices Squire's hand move, to rub his neck. JACK ...the novelty being, space and time are static. Isn't that right Mr. Dixon? Squire caught off guard, raises his head, looks around at the curious faces. SQUIRE Actually sir, the novelty lies in the probability that it isn't. Factored with the analysis of subjective quantum theory, your explanation would seem flawed. Squire checks his watch. A dizzying array of compact gadgetry on his arm. It is apparent, he would rather be somewhere else. JACK Your theory being, that space and time can change direction? SQUIRE Danny said-- JACK Ahh! Our other elusive genius! One sleeps, the other conveniently, not present. SQUIRE They... he, had to finish some homework. EXT. UNFINISHED HIGHWAY OVERPASS - DAY TWO COBRA VIPERS, one red one black with a white stripe, the other all black speed toward a break in the bridge's construction. The gap closing as fast as the cars. Tires rip pavement, smoke and gravel flies as they shoot ever closer to the -- Fifty foot jump -- a hundred foot drop if missed, the cars roar by at blinding speed. INT. BLACK VIPER - DAY DANNY GALUCCI (20's) dark eyed, over confident, flashes a wink as his car spits past, INT. RED VIPER - DAY JULES (JEWEL) CARTER (16) spiked hair, nervous shifty eyes, flips off the passing car -- shifts gear, slams gas -- speeds up. SCREECH OF TIRES -- Danny rockets ahead, first to the edge. DANNY JUMPS THE GAP. EXT. OTHER SIDE OF BRIDGE Danny's car lands and skids around, his tires burn and smoke, as his vehicle slides to a halt ten feet past the jumped expanse. EXT. HIGHWAY BRIDGE END Jewel's Viper shoots off the bridge, right after him. VIPER SEEMS IN SLOW MOTION AS IT SKYROCKETS TOWARD THE OTHER SIDE. STRAIGHT TOWARD THE BRIDGE'S EDGE INT. RED VIPER Jewel adjusts his watch. EXT. BETWEEN THE BRIDGE GAP THE VIPER, SECONDS BEFORE -- IT HITS THE BRIDGE EDGE -- BURST INTO A BLINDING FLASH. Danny on the other side, runs to look over the bridge edge. LOUD heavy THUMP -- SCREECH OF BRAKES. BRIDGE WAY - BEHIND DANNY The red Viper screeches to a halt. A proud Jewel jumps out arms raised, pleased with himself. Danny turns back, angered at this display. DANNY Cheater! That's not fair! JEWEL I not only proved my theory, but kicked your ass doing it!
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