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Okay, so you’ve completed a first draft of your screenplay. Now the fun begins editing and honing your scenes so we arrive as late as possible and get out as early as possible.

Imagine a scene in which a man arrives home and learns his wife is pregnant. It’s something they’ve both wanted for a long time and he’s happy when he finds out.

Let’s take a look at some ways the scene could be tackled:

• Perhaps the man enters and talks about his day without noticing his wife’s unusual demeanor. Then, he finally realizes, asks her what the matter is and she tells him.

• Maybe he arrives home and they discuss something unrelated. Then, out the blue, she tells him she’s pregnant.

• Or, what if he’s already in the room and she says she has good news, but he’s too distracted by something to listen. Then, she finally manages to tell him.

Let’s take a look at how this scene was tackled in the Young Victoria screenplay.

80 minutes in, Albert’s standing in the room opposite Victoria. He says “Are you sure?” She nods. He kneels and puts an ear to her belly. They embrace. End of scene.

The fact that Victoria is pregnant is conveyed by one line of dialogue and Albert’s silent actions.

This is a great example of how to arrive late and get out a scene early. The writer omits the conversation in which Victoria actually tells him she’s pregnant and starts as late as possible—with Albert asking “Are you sure?”

All his delight at the news is then expressed through action over words when he places his head at her stomach and they hug.

Think of all the times in a movie you’ve seen a husband or wife come home to find their partner in bed with someone else. How much dialogue can you remember in that scene? Chances are the writer left it as late as possible to show the partner being caught and then any anger was expressed through action.

It’s this kind of economical writing that creates a sense of intrigue, keeps the pace moving and gives a screenplay that professional feel.