How To Have Your Own Style When Writing a Script

Why can we differentiate the scripts of Woody Allen, Aaron Sorkin or Tarantino when we see them? Because they have their own style of writing. How do you create your own style? What does it depend on? Today we will see how to create our own style when writing a script .

And if you want to learn to write scripts and you need a method to guide you, there are the courses of the screenwriters platform. You already know that for a subscription you have access to all. Today it 's new class of course Thriller Guion that we will see the Thriller research . The thrillers of investigation and mystery are one of the most popular since they began with the black movies and have a great list of classics as we will see in class today.

On Saturdays we continue with the course of TV Contests . This week's class will help you understand what the phases and rounds that we must define when creating the mechanics of a contest are. We are already clarifying all the concepts that help you create your own format and in the last class we will take the final step.

And thanks for the welcome of the new Story Generator focused on series . I hope that those who have already acquired it, you are enjoying it a lot. I remind you that in addition to being able to buy it alone it is included in an offer pack with the series planner that has a discount of $ 4. With that you have the complete pack to create your own series.

I would also like to thank Jacobo Feijoo for his mention in the article on bookgames and interactive series made by the newspaper El País in its Verne section . They mentioned to Guiones and scriptwriters for the podcast on Interactive series in which he talked about interactive cinema.

The writing style in a script
A script is a work tool. A script will be read by the team members and will be the basis for building the film. But later, when the film is produced, your work as a scriptwriter will be invisible and everything will be judged by how the final result is. Even so the script has a value in itself, and whoever reads it must receive, even tangentially, the person behind it, the scriptwriter . And this will be achieved if the scriptwriter has a style of his own.

Although there are more and more readers of your script and its reading is no longer limited to people who decide if a film is produced and those who shoot it later. Each time more scripts are published so it is possible that your script reaches the internet and is read by people who want to see how it is written out of curiosity or to learn from it or even for its own literary value.

That is why we must cultivate a narrative voice of our own as screenwriters that shows our sensitivity as authors. A voice that is reflected in everything we write, that is perceived by how we write the descriptions and dialogues and how we distribute the texts throughout the script. That voice is given by our style and you have to find it in our writing process.

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Through your style as a screenwriter you can show not only your personality as a writer, but how you want that film to be shot. With the writing of the text you can insinuate when a general plan or a detailed plan would be fine, when you imagine a short plan and when you have visualized a sequence plan. Obviously, the final product will depend on the director, but it is up to you to give your staging proposal.

When the scriptwriter who writes a text is also going to direct it, sciences are allowed licenses that a scriptwriter who seeks director will not do it. It is normal. Anyone who has read a Tarantino script knows this. Also the consecrated scriptwriters have the experience and hierarchy to skip some script writing rules without fear of criticizing their professionalism.

But beginning writers must follow certain rules that show that they know the trade. I already talked about how to write with the standard script format and how to avoid novice mistakes . That does not mean that beginning writers should not find their own writing style.

Today we will see how with very practical examples thanks to some of the guidelines given by Philip Parker in his script manual How to write the perfect script .

How to create your own style in a script
Read existing scripts
To find your own style, the first thing is to recognize the style in others. In the same way that nobody launches to write a novel without having read many before, we should not start writing a script without having seen others before. Now there are hundreds on the internet, it's not an excuse.

See how great writers write their texts and show their own style serves as learning to develop our own . We can copy resources and alien elements that we like. If we do not know how to write something in a script we can think of a movie that has made a similar scene and search for its script online. We would be surprised of the scripts that there are where you can consult your PDF.

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The first page
With the first page many scriptwriters take their licenses. One of the rules when writing a script is to maintain a certain economy in writing. It's the first thing novelists learn when they write scripts. They must write with an economy of language both in the writing of dialogues, reducing the unnecessary ones, as in the writing of the descriptions.

But in the first pages many scriptwriters take licenses in writing with the intention of showing their style . They write in a more suggestive way, with internal thoughts, indicating norms or interpretations of what we will see later in the script. Afterwards they do not do it anymore, but they have already shown something of their style that they want to review.

We have a clear example on the second page of the script by Logan , Scott Frank & James Mangold and Michael Green. Nominated for best script adapted in the oscars.

style"Now could be a good time to talk about the" fights "described in  the next 100 pages or more. Basically, if you're thinking of a hyper choreographed, defying gravity, destroying cities, the typical DC action marathon, this is not your movie.

In this movie, people will be hurt or killed when the shit falls on them. They will receive the same damage or death when hit with something big and heavy like, say, a car. If someone in our history has the misfortune to fall from a roof or a window, they will not bounce. They will die.

As for our hero with his so-called eternal and healing life. Well, now he's older. If you keep reading, you will discover that Logan is about to kick his ass. But before we get to that, we should make it clear that their skills are not what they were. Yes, he is a drunkard, but he is also fading inside. Adamantium implant implants in your system, causing chronic diseases. Pain and decreased healing, therefore, alcohol as an analgesic.

So of course, go and worry about him. Now where were we ... Oh yes ... "

And so, once the script style they want to make clear in the script, they continue with the script. This text they have written is not for the spectators, because they will see only the finished product, it is for the agents, studio executives, producers, actors and other members of the team. And that the director is one of the writers also has to do with having written a text that explains how the screenplay will be displayed.

Writing plans and shots in a script
As I mentioned earlier in other programs, camera descriptions are no longer written in scripts as in the past . This is due to two reasons, on the one hand that the directors see it as an intrusion to their work, and on the other, that the script readers feel that the distance from the text and hinders their emotional connection with the work.

But that we can not write camera descriptions directly does not mean that we do not think of them and that we can not write them indirectly. How we write them is also a way to show our own style.

We must think about what takes or plane corresponds to the description of the image we see on the screen. And from there think about moving that take to paper following some techniques.

Each descriptive paragraph is equivalent to a single shot.
The extension of the paragraph indicates the duration of the shot.
That is, if I write: "The desk of the writer's office is a complete chaos" . I am suggesting a quick take that shows the mess of the table.

But if I write: "Several stained coasters are stacked next to the scriptwriter's computer. In the rest of the table there are magazines piled up without control, remains of pizza on a box, sheets with drawings, some sunglasses with a broken lens, a removable hard drive, the wallet, an ashtray with several finished cigarettes and several pencils of colors "... then I am suggesting a longer shot, even this text could inspire the director to use a traveling to show all the content.

The disposition of the paragraphs indicates the cuts. For example:
"The GUIONISTA circulates by bicycle along the promenade, passing in front of some red flags. There is nobody in the street. The scriptwriter crosses with A YOUNG MAN with an inflatable flamenco-style float that walks in the opposite direction. The young woman continues her journey without noticing the screenwriter on a bicycle. The cyclist stops in front of some stairs that go to the beach. Hook the bike to a lamppost with a chain and go down the stairs. "

Written in this way, it follows that it is a single shot, probably made from a fixed plane. Another writing option is to film it in three different shots:

"The GUIONISTA circulates by bicycle along the promenade, passing in front of some red flags. There is nobody in the street."

"The scriptwriter crosses with A YOUNG MAN with an inflatable flamenco-style float that walks in the opposite direction. The young woman continues her journey without paying attention to the scriptwriter in bicycle. "

"The cyclist stops in front of some stairs that go to the beach. Hook the bike to a lamppost with a chain and go down the stairs. "

The first paragraph describes the promenade and the cyclist walking through it. The second indicates the crossing with the young woman. And the third the descent of the bicycle, its tied and the departure of the scriptwriter. In the end the director will decide if he records it in one shot or in three, but we as scriptwriters can divide it into paragraphs and give the information little by little, in order to show the place first or give emphasis to the young woman with whom he crosses or tied to the bicycle if afterwards they are going to steal it, for example.

The proximity of the shot is deduced from the degree of detail of the description. For example:
A group of writers on bicycles approach the horizon.

It is a wide and far shot made with a general plane.

The first screenwriter has a tear in his eyes.

It is a close-up or detail shot.

The two writers make a photo smiling at the photographer

It is a medium plane.

The description of the action can induce the movement of the camera. For example:
"The scriptwriter moves among the crowd. His face disappears when he is squeezed by the multitude of bodies.

The scriptwriter passes in front of a row of people

An old man, who smiles ...

... a young couple with elegant hats ...

... a woman with a baby who screams ...

... and a little girl who almost tripped out of the crowd. "

The previous implies a series of cuts and a camera that moves following the scriptwriter.

The description of the scenes.
The style of a screenwriter is also demonstrated in how he uses the descriptions in his scenes. The most important elements that can be included in the descriptions of the scenes are:

A description of the location : Make it simple, economical and hint at the screenwriter's style.
Who is in the scene and when it is shown to the public: We must describe the characters of the scene only as they appear on the screen.
The appearance of the characters : Only if the aspect has changed since the last scene. They must be described with economy of language and being clear in their attitude, either by their body language or by their way of speaking.
The action of the scene: it must reflect the rhythm of the scene and transmit something that is not in the dialogues. It also expresses the expressions and intentions of the characters through looks and gestures.
The dialogue.
Dialogue is another of the important ways in which a scriptwriter can influence the style of a script. Normally it is the last thing a scriptwriter works, when it is already clear what happens in each scene. And it must be judged in conjunction with the rest, because it has to be balanced with the images proposed by the descriptions.

The scriptwriter can use the dialogues in an integral way, showing the people who speak them, but he can also show them off, without seeing the source from which they come, recorded in some mechanism, or as fragments that come together creating a speech . Those who are interested in improving your dialogues I remind you that there is a Course of dialogues in the Platform of Scriptwriters and scriptwriters. It has 10 lessons and will help you write and rewrite the dialogues of your characters.

The rhythm and the tempo.
The style of a screenwriter is also reflected in the rhythm and tempo of the narrative. Although one of the elements that most influence the rhythm of a film is its genre, the scriptwriter must print its own imprint. This will be done by means of the length of the scenes and their intensity.

If we are in a genre of action, it is normal for a chase to be full of short and fast scenes that print a fast rhythm. The scriptwriter must understand the genre he is managing, but he must also give his own style. And of course you must balance the very intense scenes with others of transition as the narration asks.

The tone.
The tone is one of the elements where the best scriptwriter can show his style. The same story can be told in a comedy, tragedy or drama tone. The scriptwriter must decide the tone of the story and show it throughout his writing, both in the descriptions and in the dialogues . The idea is that the script reader understands the tone of the film in all the scenes and find the nuances within that tone, because there are many types of comedy and each screenwriter can find his own style.

And with that I finish today's podcast in which we have seen how to have your own style when writing a script. And if you liked it, I would appreciate comments and ratings on Itunes , Ivoox or Youtube . Or that you share this podcast through social networks. And of course to thank those who subscribe to the courses of screenwriters and scriptwriters that help the podcast is maintained. We will be together on Tuesdays and Thursdays with new techniques, strategies and analysis so that we all learn to be better writers.

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