#35 - Making It Obvious
Edition #35 of the Lighthouse miniLetter!
You'll always get:
Three examples of great screenwriting
Two quotes about storytelling
One thing to think about
Plus some fun links at the bottom.
Three examples of great screenwriting
Moneyball
Screenplay by Steven Zaillian and Aaron Sorkin, Story by Stan Chervin
Really clever transition here, and written clearly so we understand what’s technically happening.
It is a six line action block, but breaking it up would break the flow of the it being one continuous shot.
It’s cool to see in a script co-written by Sorkin who is known almost exclusively for his dialogue. (Though it may have been Zaillian who penned this passage. I'm not sure.)
The Fresh Prince of Bel-Air ( 113 “Knowledge is Power”)
Written by Rob Edwards
When you have such a clearly established character, like Hilary Banks, funny specifics can become funnier.
I also think there’s an interesting conversation around the intended shelf-life of various forms of storytelling. Knowing if you’re writing something timeless, or something that’s just an episode-du-jour can help guide the types of specifics you’re using.
Here’s another one below that will never not crack me up.
(Also, not for nothing, but everyone on that show deserved an Emmy for their characters. Just incredible work.)
The Doctor Hears A Who (TV Crossover Spec)
Written by Kasi Meek
Writing to the reader as if they already know what things are and what's going on, especially when you use words they don't know, is such a fun way to invite them into the world. It makes it feel like a secret club.
Great use of "Truffula tree" and "smarfee" here, and honestly, even TARDIS assumes you know what you're looking at.
Really fun script that brings The Doctor into Seuss' imagined world, but also his real world. Very cool.
Available to read on The Stunt List.
Two quotes about screenwriting
“I want to tell you a story. I have no other vanity.”
“Character and emotionality don’t always have to be relegated to quieter, more simple constructs.”
One thing to think about
What should be obvious?
In thinking about what clear screenwriting is, I keep coming across the same idea:
What the reader is seeing should be obvious.
What the reader is understanding should be inferred.
This may seem pithy. It is pithy.
And yet as I go through lines in my work, I’m struck by how much of it isn’t adhering to this.
And I’m not saying that your story should be opaque and require Poirot levels of deduction to understand, but simply that you don’t have to spell out what’s obviously happening.
The reader will put it together if you’re clearly articulating images for them.
What should be obvious?
For the past month, you’ve likely noticed examples from scripts that are on The Stunt List.
The Stunt List is a rad, streaming-style platform for screenplays featuring a “fusion of IP and Original Voice.”
You can find bold original scripts, IP inspired features, TV specs, crossovers, and more.
The Stunt List aims to amplify a new generation of rad ink while building a grassroots community for the stunt script writer.
If you’re a writer looking for inspiration (or a producer looking for a writer) don't miss this year's Stunt List, available now.
Have a great draft,
David Wappel
PS Don’t Miss
TOSDR - A sort of “TL;DR” about Terms of Service for those who just click “Accept” (aka everyone)
More old computer games. Go ahead, live in the nostalgia
ATTN Writers! Do you have a script that would be a good fit for The Stunt List? Submission portal for next year is already open!
Are you a writer over 40? Submit your script to The Grey List!