How to Rewrite
Over the weekend, my friend Rawson came to visit the bambina, and we talked about the script he’s writing. He said he was about to start his next draft, which was mostly character tweaks. He was unsure how to go about it.
I said, “Decide out what you want to accomplish, then figure out which scenes would need to change.”
He seemed to think that was pretty good advice. And the more I thought about it, the more I agreed.
The biggest problem with most rewrites is that you start at page one, which is already probably the best-written page in the script. You tweak as you go, page after page, moving commas and enjoying your cleverness — all the while forgetting why you’re rewriting the script.
Instead, you need to stop thinking of words and pages, and focus on goals. Are you trying to increase the rivalry between Helen and Chip? Then look through the script — actual printed script, not the one on screen — and find the scenes with Helen and Chip. Figure out what could be changed in those scenes to meet your objectives. Then look for other scenes that help support the idea. Scribble on the paper. Scratch out lines. Write new ones.
Then move on to your next goal. And your next one.
At first, this “checklist” approach to rewriting probably won’t feel organic. It doesn’t have the same flow as writing the first draft. But fixing your script isn’t that different than fixing your car. If the stereo was busted, you wouldn’t start at the tailpipe and work your way forward until you got to the dashboard. You’d rip out the stereo, figure out what was wrong, and replace it if you couldn’t get it working. Then you’d do the same for the headlights, the shocks, and the windshield wipers. A car is a car, and a script is a script. But they’re both made of lots of little pieces, and you can only fix one piece at a time.
And scripts are much better than cars. If you don’t know what you’re doing when you try to fix your car, you might be stuck taking the bus. With a screenplay, you always have the old version saved on disk. So roll up your sleeves and get to it. Don’t let the fear of screwing up keep you from starting.
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August 17th, 2005 at 11:30 am
Another chunk of advice: OUTLINE! It’s essential to writing the first draft. And incredibly useful for a rewrite: Write a scene outline based on the latest draft. Go over it scene by scene, making notes for new ideas/omissions/changes. It helps keeping the bigger picture in perspective. And focusing on actual issues (plot holes, fleshing out characters, etc.) rather than getting lost in fine tuning dialogue. I’m doing a production rewrite right now. I have four weeks. Spending the first two on outlining! Like a surgeon, you first identify the syndromes. THEN you go into the 8 hour operation.
August 17th, 2005 at 11:31 am
I just took this approach on a rewrite and it was a great process. It was less daunting than a page one approach, and I felt I accomplished my goals–recognizably accomplished them–as the rewrite went on.
Another thing I did was a dialogue pass–character by character, only reading the lines of one character on a pass through the script. This really helped me find an original voice for each person, and ensure no two characters spoke alike.
And I save each version (”save as”) by date when I make major changes, so I can follow the changes if I decide to go back.
I took your advice (from some time ago) and found a way to print two pages of script on a landscape piece of 8.5×11 paper. That made the working draft printing a little more manageable.
Movie Magic has a neat feature that allows you to turn off elements (action, dialogue, etc) so you can review (and print) them independently. I did this with my action/description clean-up to make sure I wasn’t distracted by dialogue, and that the script had plenty of imagery.
August 17th, 2005 at 1:08 pm
That’s interesting about printing out elements. Do the other screenwriting programs do that (Final Draft?) I can see how that would be really useful. I still use Word, I’ve developed a system and it works fine (annoying at times, but fine) until I decide to upgrade. That would be a definite selling point.
I agree with all the other points too, but I think it’s important for each writer to figure out what the easiest and most productive way of “seeing” those goals is. I used to use cards, then just scene breakdowns. It’s taken me many scripts to figure out what works, but like John said, it’s the goals that matter - how you get there is up to you I think.
August 17th, 2005 at 2:03 pm
That’s excellent advice, John. I’m going to suggest this goes into the Scribosphere Hall of Fame.
August 17th, 2005 at 2:51 pm
John - This might be a whole new topic to tackle, but I’m just curious and not very experienced with this… How much does rewriting a specific amount factor in to the equation due to possible arbitration and shared credit issues down the line. A friend of mine just had his spec rewritten by an established writer…and it seemed as if he changed just enough (arguably more than necessary) to earn himself shared credit and a bigger piece of the pie. I know some are reading this, aghast that I dare accuse our fellow writers of sacrificing their creativity for cash — but from a business and financial standpoint it seems like rewriting more for profit and credit than artistic integrity is something that could happen a lot. Thoughts?
August 17th, 2005 at 7:06 pm
Your blog was mentioned on 3-Blogs A Day.
Have a nice day.
August 17th, 2005 at 9:52 pm
Thanks John, that’s definitely the piece of advice I would have needed after I had travailed the first draft of my first script. Now I anticipate the rewriting block and time my way through a first draft streamlined with chunks of on-the-nose dialogue and arid action, that way the first rewrite is more of a pleasure as it consists of fledging a dozen key scenes. So yes, the script outline is king, but the work outline is god.
August 17th, 2005 at 10:23 pm
Great advice John. I think we tend to look at the minutae of a script in the rewrite, thinking that if we change a few commas we’re actually changing something - a defense mechanism perhaps?
I always make a new 2 page outline of what the script should look like (taking into account the client’s notes), then follow that during rewriting. It actually makes the rewrite go that much faster.
August 18th, 2005 at 11:39 am
a process is best. starting on page one and just sprucing up is a bit self-congratulatory (as ja said). there are lots of story/structure flaws that could be corrected. i know a trick. as tricks go, it’s pretty effective:
pick a number between, say, 3 and 12. then, excise that number of pages from the draft (make a copy of the draft and work from it - that way you can try this w/o risk)
force yourself to find some way to cut the pages (pretend the draft is 132 pgs and you have to). it could be mechanical - cutting unneeded words, or sentences. it could be structural - cutting whole shots (that don’t directly effect the plot)
you’d be surprised how much fluff there is (usually - your script could be a cut gem). i find junk all over the place. after cutting, slashing, hacking, ablating, i’m left with a script that hums (by comparison at least).
above is easy and (working from a copy) fun - and, if you find substantial stuff to get rid of, will yield a structurally more correct story. plus, if you’re not already, it’s a good way to acquaint yourself with rewriting in general (which, usually, is a process by which you remove or alter brilliant stuff [or crap] that’s not needed). rarely does rewriting involve adding stuff
secret tip: after you’ve done above, repeat (you’re not done yet). you’d be surprised how much fluff there is (still)
August 18th, 2005 at 12:04 pm
sorry alan, but that sounds a tad dubious a method.
August 18th, 2005 at 6:45 pm
Thanks for this John. I love the car analogy.
August 18th, 2005 at 7:23 pm
I noticed that you’ve decided to get into television writing and I was wondering what the fundamental differences were between TV and feature writing?
August 19th, 2005 at 12:14 pm
If such revision of “flaws” is the main reason why you rewrite, then you’d reach a point where a story can actually collapse (at the core or within some key-paths, namely, sequences which rely on facts already setup) or be altered so much it could fix or mangle with what shouldn’t. Then, there’s the necessary modifications from a focused plan (outlining, as mentioned above) which leads to those very same revisions via a more strict pattern. I thought the distinction had to be made between, structuring a rewrite or clarifying its general purpose. Results being made from a “mistakes” search, though. It’s a catch and patch tricky process, for sure.
August 21st, 2005 at 12:24 am
I just wanted to add, “Don’t let the fear of screwing up keep you from starting.” is some of the best advice I’ve heard in quite some time; this advice definetely goes beyond the realm of screenwriting and into the realms of everything.
I think that is fantastic advice. Just figured I’d let you know.
August 22nd, 2005 at 1:42 pm
And scripts are much better than cars.
You’ve never driven a Porsche 911 Carrera.
August 29th, 2005 at 10:43 am
In your opinion, what is the single (or few) capital differences in script story development for a true life drama vs. any other fictional form? Assuming one has the rights for such a story of course. Not format - but; tempo, acts, scene construction etc. The real distinuishing marks. Thanks
October 3rd, 2005 at 4:40 am
Thank you, and great advice. Currently on my 9th Screenplay (possibly out of 30+ scripts so far, some for the stage), love writing, and most recently, enjoying in particular the art of editing.
Understanding the editing also makes writing that first rough draft all the easier too.
October 5th, 2007 at 10:06 pm
[...] going to take this rewrite one act, one sequence, one scene at a time. John August has a sane and sober approach to rewrites and I’m going to take his advice, of course. I want to have a new first act by the end of the [...]