![]() Remember, the object of writing a script is not to write a script. Is it “on the nose”? Does it force characters to “tell” the audience the story, rather than show it through their actions?.Does it reveal aspects of the character? Does it advance the character toward his/her goals in that scene?.Does it serve the story? Is it just filler before you get to the “good stuff”?.Is it clear? Does the meaning you intended to convey come across?. ![]() Is it too long? Are the actors running out of breath before they can finish a line?.This type of social reading can also allow your friends to offer honest criticism of the script, rather than the pat “It's nice/I like it” answers they give to protect your feelings.Ī live reading can answer numerous questions about your dialogue: You may have to spring for food and beverages (save the adult beverages for after the reading), but it'll be worth it to hear your dialogue spoken out loud. If you don't have a group of trained actors available, get a group of friends and make a party out of it. When you listen to trained actors read through a script, even if it's a cold read, you can get a great feel for how your dialogue should sound. The best recommendation I can give is to find a group of actors willing to read through your screenplay, including a separate reader for the stage directions and sluglines. Since you can't play every instrument yourself, it's extremely valuable to get a band together for a run-through. Aspiring screenwriters, especially those making the transition from prose to script, must remember that dialogue should be like good music. Nobody reads sheet music for fun, but everybody listens to music. When the dialogue is bad or clunky, it can also feel as terrifying and awkward as when Victor Frankenstein's monster lurched to life.ĭialogue is a lot like music: its purpose is to be heard, not to be read. When writers hear their dialogue spoken out loud, it can feel as beautiful and life-affirming as holding your newborn child in your arms. Many rookie screenwriters ignore the fact that their dialogue is eventually meant to be spoken by actual human beings.
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