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Words on the page

On square miles

March 29, 2009 Words on the page

A [correction](http://www.latimes.com/news/custom/corrections/) in yesterday’s LA Times:

> **Solar power:** A Friday editorial said that according to the U.S. Energy Department, enough sunlight hits a “100-square-mile” portion of the Nevada desert to power the entire country. It should have said “100-miles-square.”

Rearranging two words shouldn’t matter, should it?

square miles chart

Poor copy editing, sure. More than that, it’s bad language design: “square” and “miles” are alternately (and ambiguously) noun and modifier depending on word order. And the hyphens which transform it into an adjective only make it worse.

I’d argue that “square miles” and “square kilometers” really have no place in popular journalism, because we have little connection to what they mean.

square miles chartAs humans, we never travel a “square mile.” We travel a mile. Or ten miles. If we’re thinking about an area of land, we’re probably mentally walking along two of its edges — which is what the LA Times and the U.S. Department of Energy were doing.

A better version would offer something of a roughly equivalent scale:

“According to the U.S. Energy Department, enough sunlight hits a 100-miles-square portion of the Nevada desert (roughly the area of Vermont) to power the entire country.”

Growing sentences

March 19, 2009 Words on the page

I linked to this in [Off-Topic](http://johnaugust.tumblr.com/), but it’s worthy of some attention on the front page as well. Jason Kottke [reposted a set of instructions](http://www.kottke.org/09/03/growing-sentences-with-david-foster-wallace) by James Tanner for turning any normal sentence into a David Foster Wallace super-sentence.

Since screenwriting is an art of brevity, it’s a nice change of pace to see just how overstuffed a sentence one can write.

Following Tanner’s instruction, we start with a simple 10-word sentence:

John wanted to play ball, but he sat on the couch.

1. Use them in a compound sentence:
—

John said he wanted to play ball, but instead he sat on the couch and played videogames.

2. Add rhythm with a dependent clause:
—

When asked by his sister, John said he wanted to play ball, but instead he sat on the couch and played videogames.

3. Elaborate using a complete sentence as interrupting modifier:
—

When asked by his sister, John said he wanted to play ball — he told her where to find his mitt — but instead he sat on the couch and played videogames.

4. Append an absolute construction or two:
—–

When asked by his sister, John said he wanted to play ball — he told her where to find his mitt — but instead he sat on the couch and played videogames, his left foot resting on the ottoman, toes flexing at the most perilous virtual encounters.

5. Paralell-o-rize your structure (turn one noun into two):
——

When asked by his sister, John said he wanted to play ball — he told her where to find his mitt and shoes — but instead he sat on the couch and played videogames, his left foot resting on the ottoman, calf and toes flexing at the most perilous virtual encounters.

6. Adjectival phrases: lots of them. (Note: apprx. 50% will include the word ‘little’):
—–

When asked by his little sister, a ginger-haired cherub with little butterflies on her jean shorts, John said he wanted to play some ball — he told her where to find his well-oiled mitt and second-best athletic shoes — but instead he sat on the faded orange couch and played videogames, his left foot resting on the ottoman, calf and hairy toes flexing at the most thrilling and/or perilous virtual encounters.

7. Throw in an adverb or two (never more than one third the number of adjectives
—-

When asked by his little sister, a ginger-haired cherub with little butterflies on her jean shorts, John said he wanted to play some ball — he told her where to find his well-oiled mitt and, specifically, his second-best athletic shoes — but instead he sat on the faded orange couch and played videogames, his left foot resting on the ottoman, calf and hairy toes flexing at the most thrillingly perilous and/or maddeningly difficult virtual encounters.

8. Elaboration — mostly unnecessary. Here you’ll turn nouns phrases into longer noun phrases; verbs phrases into longer verb phrases. This is largely a matter of synonyms and prepositions. Don’t be afraid to be vague! Ideally, these elaborations will contribute to voice — for example, ‘had a hand in’ is longer than ‘helped’, but still kinda voice-y — but that’s just gravy. The goal here is word count.
—–

When asked by his little sister Bella, a ginger-haired suburban cherub with two make-believe horses and little yellow butterflies on her jean shorts, John definitely said he wanted to play some ball — he told her where to find his well-oiled mitt and, specifically, his second-best athletic shoes — yet seemed unaware that the white New Mexico sun was crossing the sky and sinking below the foothills as he sat on the faded orange velvet couch and played videogames, his left foot resting on a month-old magazine which was in turn resting on the ottoman, his calf and hairy toes flexing at the most thrillingly perilous and/or maddeningly difficult showdowns with level bosses and their virtual henchmen.

9. Give it that Wallace shine. Replace common words with their oddly specific, scientific-y counterparts. (Ex: ‘curved fingers’ into ‘falcate digits’). If you can turn a noun into a brand name, do it. (Ex: ‘shoes’ into ‘Hush Puppies,’ ‘camera’ into ‘Bolex’). Finally, go crazy with the possessives. Who wants a tripod when they could have a ‘tunnel’s locked lab’s tripod’? Ahem:
—–

When asked by his little sister Bella, a ginger-haired suburban cherub with two make-believe Lipizzaners and little yellow lepidopterae on her Old Navy jean shorts, John definitely said he wanted to play some ball — he told her where to find his well-oiled Nokona mitt and, specifically, his second-best athletic shoes (the Nikes) — yet seemed unaware that Albuquerque’s ghost-white sun was charting its ecliptic path across the sky and sinking below the foothills as he sat on the faded orange velvet couch and played Fallout 3, his left heel resting on the face of Kristen Stewart, who graced the cover of a month-old Entertainment Weekly which was in turn resting on Pottery Barn’s cheapest ottoman, John’s calf and hairy toes flexing at the most thrillingly perilous and/or maddeningly difficult showdowns with the Super Mutants of Vault 87 in pursuit of the Geck, a device he wasn’t sure he even wanted.

Thus, 10 words become 151. And absurd, but that’s the fun.

Some sample sentences to try on your own.

* Mary’s car would not start. Her sister was not surprised.

* Tom liked cheese. Eating too cheese much hurt his stomach.

* The lawn was brown. Tom didn’t know how to fix it.

If you decide to try it for yourself, post the final product, or leave a link in the comments if you’re showing your work.

Can I go beyond DAY and NIGHT?

February 20, 2009 Formatting, QandA, Words on the page

questionmarkIs there a hard and fast rule for first time screenwriters correctly writing their slug lines? I understand that it is for the production people to know WHERE and WHEN to shoot the scene. But I’ve also been told on the boards of quite a few screenwriting forums by supposed professionals, that it is NOT part of your story and so you only ever write DAY or NIGHT.

I’m told that if you want readers to know it’s foggy or stormy you tell them as “part of the story” in the action lines below. Yet in many of the spec scripts I’ve seen online, writers use CONTINUOUS, SAME, LATER etc in their slugs. Is it only solicited writers who’ve already been green lighted for production that have the privilege of writing beyond the binary of DAY or NIGHT? I find that hard to believe this when software like Final Draft allows you to be more expressive in your slugs, and still, I’m continually told otherwise.

It would be much appreciated if you could clear up this issue that has confused, infuriated and made me less confident in my writing now for far too long. I’m sure I’m not the only one.

— Tim
Ischia, Italy

Sluglines are there to help production, but they also help readers. If venturing slightly beyond the confines of DAY or NIGHT makes the read easier, do it.

All of the following are legit:

INT. HOUSE – DAY

INT. CABIN – NIGHT

EXT. FOREST – DAWN

EXT. SPACE

EXT. PARKING LOT – NIGHT [RAINING]

INT. BOWLING ALLEY – NIGHT [FLASHBACK]

The first two are obvious and standard.

DAWN is okay, as long as there really is a reason the scene needs to be taking place close to sunrise, rather than just general DAY. For example, if you were following characters through a string of harrowing night scenes, and they bunkered down in an abandoned railway car, it might be important to really note when it’s dawn again. Same case for DUSK or SUNSET. In a vampire movie, that could be crucial.

Space has no day or night. Generally in science fiction there is a sense of what “day” and “night” feel like, however. So feel free to use it on a spaceship, for example, to indicate the daily routines.

I use brackets at the end of a slugline to highlight special conditions. Rain is a big deal, both for story and production purposes. And flagging a scene as a flashback helps both readers and assistant directors.

How to handle unknown narrators

February 20, 2009 QandA, Words on the page

questionmarkI have a character that I would like to voice over a letter, but she hasn’t been introduced yet and the character getting the letter doesn’t know her. Would I just name her “Woman” at this point?

— Tyson Koss
Fort Collins, CO

Yup, she’s just a woman. Or more specifically, a WOMAN’S VOICE.

Dan rips open the envelope, removing a folded sheet of paper and a key he doesn’t recognize. The note is handwritten, and addressed to him.

WOMAN’S VOICE

If you’re reading this letter, there’s a very good chance I’m dead. And there’s a very good chance you will be too, unless you follow my instructions exactly.

I generally omit the (V.O.) in this situation. It’s redundant.

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