Dramatic writing requires the craft skills of character making and narrative patterns dealt with in many other chapters in this book, but it differs fundamentally in that it concerns the creation of what is in effect a list of coded instructions, or a blueprint, for a work still to be completed rather than the finished work itself. Between writer and audience there are many more stages requiring others to read and interpret and add to what the writer has written before the audience experiences it. A scriptwriter’s first readers are thus the team who may or may not decide to commission the work. And then, if it is in production, subsequent readers include the directors, designers and performers who will realise the finished thing. So before it is ever watched, a script should still be a very fine read (but as Friedman notes above, remember that the audience doesn’t read the script). And it should use the narrative and layout conventions of the medium for which it is written. This is a huge signal to those first all-important readers that you know what you’re doing and that, in a hugely competitive market, you might be worth a second glance.
Swipe to navigate through the chapters of this book
Please log in to get access to this content
To get access to this content you need the following product:
- Scriptwriting: for Nervous Beginners
- Macmillan Education UK
- Sequence number
- Chapter number