As a second-year screenwriting student, I’ve gotten used to hearing that my work “isn’t as difficult” as my peers’ assignments from their STEM-based majors. I agree that my work is definitely different than what I see them working on, but invalidating the efforts of myself and other film students is not a worthwhile endeavor. All forms of writing can be difficult, creative writing included. As a first-year writing student, I wanted to assemble a how-to guide of sorts to help tutors engage and effectively support students who bring in screenwriting students.
Formatting
In terms of understanding a script, there are some important things to remember. One, scripts are formatted differently than an essay, and they are done so in a way where one page should be equivalent to a minute of performance time. So, hypothetically, you should be able to act/read out a 15-page script in 15 minutes. So, if a writer submits a screenplay longer than four pages for half an hour, it might still be a realistic ask, depending on the circumstances.
Important Terms
- Scene Heading: This is usually bolded and indicates how a new scene is starting and will inform the reader of the setting and time.
- Action Lines: These small paragraphs can be used to introduce characters or important props but are mainly used to set the scene and describe actions for actors to perform. These can be placed before, after, or in between dialogue.
- Character Names: Indicates a character is about to speak.
- Parentheticals: Tells the actor/reader how a line should be delivered.
The Creative Process
As time has gone on, writers have evolved and begun to take on secondary roles such as directing, producing, or acting. This has shifted how each of them thinks when they start writing something new. According to the Academy, it is important to help them focus solely on writing when writing, and worrying about their secondary role when it comes time to take that on. The Academy believes that the writer is the architect with the first and final say, and putting in work and research will help with their attention to detail. This is complemented by The English Journal, which stated that putting in effort and sincerity to their work will help them produce a well-rounded body of work. This involves understanding when to take breaks and focus on other pursuits to stay mentally sharp. Luckily, students are often offered choices on which creative avenues they can pursue, something Professor Hans Ostrom has credited with keeping students of all majors engaged. This “break” from their traditional coursework can improve their writing in unexpected ways, and the ability to focus on what they want to focus on means they are more likely to put the necessary effort in.
Relationship Building
Approaching creative writing can happen in many different ways. The most important thing to remember is to approach it with respect and care. Many creative writing assignments tend to be more personal, and even if not, they often come from the writer’s imagination, and not from an analysis of other works. When working with a writer, it is important to remember that no one teacher holds the answer. According to The Academy, only fully experienced writers can understand the problems of a writer. Even then, some writers will be better at pointing out continuity errors, dialogue problems, character flaws, etc, and getting opinions from multiple tutors/other writers can help effectively cover all the bases a writer needs to cover. Something that might help both the tutor and the writer with these skills is completing exercises together. According to The English Journal, this in combination with self-reflection can help a writer better understand the creative process. The last thing to remember is to offer specialized feedback. According to Professor Ostrom, many writing programs have professors who lack the exercises and proper skills required to help a writer grow in necessary ways. Be specific in areas writers can improve and you will develop an honest relationship with them.
Writer Identity
As previously mentioned, a writer who takes up a secondary role has a new influence on their creative process. According to The English Journal, this can be distracting and unnecessary, and it is up to a tutor to keep them on the right track and help them focus on their primary role of finishing their writing assignment. The best thing a secondary role offers is another method of reflection that can help a writer in the future, but it is important for them to stay focused on the present instead of jumping to the future. When they focus too much on said future and how they possibly have to change their writing to fit a future problem, it can be too distracting and detrimental as The Academy claims it is impossible to tandem two roles without one or both suffering. When working with a writer, consider their personal identity and the choices they make. As previously mentioned, students can select which creative writing class to take. Professor Ostrom asks, how can this become incorporated? Using the strengths a writer already has will be a great way to reinforce successful writing habits.
Exercises
Below are some exercises that a tutor can complete with a writer to help them better understand their assignments or smash through a mental roadblock.
- Peeling The Onion: Have the writer go in depth and write a biography for their character(s). Doing so will give them a better understanding of who they want this person to be.
- Script With No Dialogue (SWOD): Writers often become hyper-fixated on dialogue. Have the writer write an entire short script using only action lines, no dialogue.
- Screenwriting Sprints: Get your writer ready, then get them to just free write without stopping for a set amount of time. They can edit once finished, but should never stop writing during the allotted time.
- Give Notes To Published Works: Find a pre-existing script for a film or episode of television. Practice giving notes on aspects of the story that you and/or the writer feel could use some improvement.
Conclusion
Putting effort into further understanding the type of assignments that will be brought to you as a tutor is an important way to connect with your writer and save time by not needing an in-depth conversation about what their work entails. Overall, the most important thing you can provide a screenwriter is support for their specific creative writing needs.
References
KANIN, F., & WAGNER, R. W. (1980). Screenwriting Training for Writers and Directors in the U.S.A. Journal of the University Film Association, 32(4), 15–25. http://www.jstor.org/stable/20687532
Ostrom, H. (1989). Undergraduate Creative Writing: The Unexamined Subject. Writing on the Edge, 1(1), 55–64. http://www.jstor.org/stable/43158634
Power, C. (1934). Correlating Creative Writing and Other Fine Arts. The English Journal, 23(3), 195–202. https://doi.org/10.2307/805055