Script Editing – 5 Things To Cut
What’s the first thing an industry reader does when receiving a new script? Answer: Look to see how long it is. This gives an immediate clue as to whether some script editing needs to come into play.
A feature script should run about 100—110 pages in length, with comedies better off coming in around 90—100. Certainly, anything over 110—120 immediately suggests to the reader that the script may be bloated—full of unnecessary sub-plots, scenes, description and dialogue that need to be edited.
Anything under 90, of course, suggests the opposite—there’s maybe not enough story present to make a feature.
In nearly every script we receive, though, we find ample room to cut back on the page count. So, starting in today’s post, we’re going to take a look at a series of things to consider when making sure you’re script is as tight as it can possibly be.
Hellos / Goodbyes / Small Talk
A film “is life with the uninteresting parts cut out.” And that means cutting out all small talk. In well written scripts, characters don’t make small talk. Every single word they say in some way moves the story forward or reveals character and theme. And often all at once.
The old chestnut concerning writing scenes is to “get in as late as possible and leave as early as possible.” This means trying to avoid having your characters say hello and goodbye to each other. UNLESS it’s important or significant in some way.
Notice in films how, if a character does enter a room and say “hi,” to someone, they don’t get a reply. The other charcter will just counter with conversation or action. And the same goes for goodbyes.
Unnecessary Scenes
These are the single biggest culprits for over-inflating a script. Every single scene should move the story forward and hopefully reveal character. If it’s not then it shouldn’t be in the script.
A good way to test whether a scene should be in a script is to take it out and see what happens. Has it any way made understanding the main plot harder, or incomprehensible? If it hasn’t then it should probably be left out. Sometimes, though, you may think a scene is necessary for a sub-plot, which is fine, if the sub-plot itself is necessary. Read our post on How To Write A Scene for further info.
Unnecessary Sub plots
These are also a big culprit for over-inflating a script. Remember, sub plots exist in order to impact on the main plot. If you write a series of scenes in which your main character tries to set up a friend, but nothing happens to the main character as a result, then it doesn’t belong in the script.
In Sideways, Jack gets together with Maya’s friend, Stephanie in a sub plot. After finally getting it on with Maya, Miles lets it slip to her that Jack is engaged and she dumps him. The sub plot, therefore, directly affects the main plot and this should always be the case.
Tomorrow we’ll look at more script editing exercises.
