DEVELOPMENT PLAN – The design of an effective development plan is foundational to good script editing.  Defining the requirements and terms of a rewrite strategy involves:

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1) identifying and discussing the project’s current strengths and weaknesses;

2) deciding on specific changes that will bring enhancement and are achievable in the given timeframe;

3) reaching consensus on the necessary number of meetings, preparatory documents (e.g. sequence tensions, beat sheets, outlines and treatments), feedback reports, research periods, stages and deadlines.

 

In my experience, effective and efficient script editing relies on:

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1) a clear understanding of realistic and achievable goals and priorities;

2) suitable preparatory documents in which much of the narrative troubleshooting can be done before going to script;

3) adherence to the mission, the vision and deadlines with clear communication and monitoring of progress;

4) a degree of flexibility to adapt the strategy if the process uncovers new ideas that can more effectively meet development goals.  On this point, major new ideas or course corrections generally cannot be pursued without extending the plan (necessitating a new timeline and terms), and are often best tabled for later consideration or a subsequent redraft.

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This service involves reports that can include the following sections, depending on the project:

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• 1)  PREMISE – Examination of the project’s strengths, weaknesses and its ability to prevail in its target market.  This section provides an overview of the script’s commercial and artistic merits with an emphasis on how its narrative quality and its distinctive sell can be enhanced.  This often underscores key dramatic and thematic issues for troubleshooting.

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• 2)  GENRE and MARKET – An evaluation of the particular experience which the script is offering its target audience.  This looks at the project’s international reach, the familiar and original aspects of the narrative and story pattern.  Tone, mix of genres and budget also feature.

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• 3)  DRAMATIC CONFLICT – This section comprehensively breaks down key elements of the story’s primary dramatic conflict (e.g. goal, stakes, source of antagonism, motivation, obstacles).  The aim is to improve the tension being generated by the script’s unique combination of these components.  Secondary sources of drama are also assessed.

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• 4)  THEMATIC CONFLICT – A detailed examination of the story’s main themes, its unspoken debates and what the resolution expresses thematically.  The abstract ideas or moral issues implied by the characters’ journeys and the narrative as a whole are considered in determining the script’s meaning or point (e.g. is too timid, preachy or ambiguous?).  This section also concentrates on the story’s emotional content – how it is trying to move its audience.

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• 5)  STRUCTURE – A comprehensive assessment of the story’s arrangement and its effectiveness in grabbing, sustaining and rewarding the attention of readers and viewers. This can involve: 1) the shape of the protagonist’s inner journey; 2) the escalation in stakes and character motivations; 3) the interconnecting of relationships and subplots; 4) the arcs of secondary characters; and 5) dramatic tensions on the levels of the act, sequence and scene.

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• 6)  CHARACTER – A detailed analysis of principal and supporting characters, with an emphasis on character nature and journey.  Main characters’ wants, needs, flaws, relatability, motivations, depth and believability are assessed with regard to how well they are facilitating the story’s dramatic and thematic strengths.  This also extends to one-string characters.

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• 7)  CHARACTER DYNAMICS – This section evaluates the major relationships and how efficiently they are: 1) facilitating dramatic conflict, e.g. increasing pressure on characters and supporting the story’s forward momentum; 2) supporting theme, e.g. revealing character nature and challenging their philosophy; and 3) aiding the story’s unpredictability by leading to surprise outcome or an unexpected emotional payoff.  This section often includes a look at the overall cast design.

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• 8)  DIALOGUE – Assesses the dialogue’s proficiency in revealing character, creating tension, revealing theme, supporting authenticity, reinforcing the story world and sustaining tone.  The structure and pace of key exchanges, the characters’ choices of language, levels of subtext and exposition throughout are also evaluated in this section.

 

• 9)  PACING – A detailed consideration of the narrative’s ability deepen audience involvement throughout the telling.  The designs of the story’s primary and secondary dramatic questions are examined with regard to escalation, suspense and areas of lag.  Pacing also pinpoints areas of clarity and confusion in the plot and character behaviour.

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• 10)  SUBPLOTS – The script’s B and C stories are assessed in isolation and also in relevance to the A-story (e.g. are they interesting in their own right while also adding appropriate depth and complexity to the story?).  Emphasis is placed on dramatic conflict within each subplot and on their overall ability to deepen the script’s thematic exploration.

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• 11)  STORY WORLD – Comprehensive observations on how reliably the world of the story is being conveyed.  This examination involves careful considerations of: the script’s visual language and descriptions; the significance of the story’s setting and time period; the credibility or lack thereof in how character vocations and cultures are depicted; and the absence or presence of good research.

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• 12)  CONTRIVANCES – Suspension of disbelief is fragile and demands careful maintenance.  General believability issues and their causes, such as plot or character machinations which appear unjustified (e.g. character decisions, actions, behaviours, dialogue), are defined and recommendations given.

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• 13)  WRITING ON THE PAGE – This section appraises the quality of the writing, with an emphasis on parts of the script where the storytelling is particularly vivid and/or vague.  Oversights in format, grammar and punctuation are also highlighted here.

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• 14)  CONCLUSION – This section summarises the main recommendations for development pertaining to the script’s macro and micro elements.  Consistent with the agreed upon development goals and timeframe some of these recommendations may be prioritised above others.

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• 15)  PAGE NOTES – Also possible in this process, page notes provide a list of specific thoughts, impressions, reactions and suggestions that arise during each read.  These are noted as they occur.  This section can provide the writer with a sense of when and how readers might be held in suspense, puzzled, amused, intrigued, drawn in and drawn out of the story.

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For Script Editing rates, please contact me below.