This is what I want you to see. Now you see this. Now this happens. When you have visuals crammed together in long paragraphs, the reader’s brain interprets that block differently, despite the same description being used. If you pay attention to how those three sentences read, you’ll notice that there’s a beat to that. Think of each block of scene description as a visual that you are throwing at the reader. They pack multiple visuals into one single block of scene description. The problem many screenwriters have is that their blocks of scene description are often very thick and long. The first scene example above had two blocks of scene description. It could be just one sentence, two, three, four, or (hopefully not) more. Create a Rhythm for Your Scene DescriptionĪ block of scene description refers to the amount of “ink” used before a blank space. Hence, you’ll be offering them more effective scene description.īut that’s not all you can do. Sure, that rewrite would only save you a couple of lines within your script, but if you embrace this Less Is More mantra and apply that to each and every line of scene description in your script, the difference will be substantial.Īnd the most important aspect will be describing each visual quickly enough where the reader can process it at lightning speed. The second example just gets to the point without poetic detail. If you compare the two, they both are describing the same visual. However, take a look at this whittled-down version. A lesser writer would have used another paragraph to go further into detail, trying to capture some sort of particular atmosphere for what is basically one image for the reader to visualize. Two sentences in one block and one long sentence in another. This scene description block isn’t the worst we’ve seen by any means. And when you think you’ve accomplished that, whittle it down even more.
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To master compressed imagery, you have to learn how to whittle everything down to the core. You instead need to embrace the art of compressed imagery where you eliminate those elongated elements from your prose and get to the point so the reader can see that visual and move onto the next as quickly as possible. In a screenplay, there’s no room for that type of writing. The best thing you can do as a screenwriter is offer them that latter content partnered with a cinematic read.Īnyone can write a long, multi-paragraph description of a setting or action sequence where you articulate descriptive sights, sounds, and atmosphere - and then put together poetic descriptions of each of those details. A reader would rather read a conventional screenplay that reads in a way where they feel they watching a movie, as opposed to a more original screenplay that feels that they’re reading a long novel. That’s how cinematic screenplays are born. The fewer words you use to describe a visual the better. You’re not using the scene description to go into specific detail about the sets, the locations, the character’s wardrobe, each and every movement, etc. Your job is very simple as a screenwriter - convey what the reader is supposed to envision in broad stroke form, and do so as quickly as possible. Here are five best practices to help you write effective scene description that will make your screenplays become the coveted page-turners that script readers crave for. Instead, they either focus on directing the camera or go into specific detail with long-winded scene description. Sadly, most novice screenwriters fail to understand the importance of writing cinematically.
You want the reader to be able to decipher the visuals you are describing in your scene description as quickly as possible - as if they were reels of film flashing before their eyes. Dialogue is fairly straightforward.īut it’s scene description that truly holds the key to the success of your screenplay, specifically from the standpoint of how easy it is for the reader to truly experience your story in cinematic fashion. Read ScreenCraft’s Screenwriting Basics: The Keys to Writing Correct Scene Headings!Ĭharacter names are obvious. They consist of three elements - interior or exterior, location, and day or night (with some variations). Those elements can be utilized, but only sparingly so and only when completely necessary.
Anything else - camera directions, transitions, and parentheticals - rarely do anything beyond creating more for the reader to read and process, which slows down the read of the script. The four basic elements of screenwriting format are scene heading, scene description, character name, and dialogue. What are the best and most effective ways to write cinematic scene description that keeps the reader invested, engaged, and lost in the visuals of your movie?
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