Mastering Screenplay Description: Insider Screenwriting Techniques

1. Trailer: Welcome to this course titled Mastering screenplay discretion. My name is Isaac cupboards, which provide decades in screenwriting. As Perez, I have written a series of screenplay over the years. And the most popular ones are goodbye anemone from the order word surgically coiled, got off the witches on track. With my professional experience in screenwriting, I am confidence to assure you that you'd be filled to the brim with the insider screenwriting techniques you need to craft this pale been screenplay. One of the main aspects of great scripts description is its ability to put images in the reader's mind to make them see exactly what right does, wants them to see. Glare. Interesting resides. Dvd media is to help the reader app for deeper into the heart of the story that well, in this course, you will learn and master discretion screenwriting us to explore a pretty wide range of secret screenwriting. It nice and common mistakes to avoid why writes in his description here strictly, often it's me, right? As I saw PC grappling with the dynamics of their story. What's the upper diagonal one? How to write a dialogue? What's pages? Outbreaks are falling on and so hard they forget to address the most indicator of talent description. I'm writing style. Oftentimes I've heard the same complaint from aspiring screenwriters over and over again. I didn't know what exactly I need to do to execute a visual trigger description. I don't know why my screenplay doesn't read like pro version. I don't know why my scripts getting rejected. Many teens, many things can go wrong with the screenplay description. Andres of arrows are committed by non established screenwriters by ignorance. That's why I have designed this course targeted at discretional writing over 50 per cent of the screenplay problem. It's him to solve many problems as Ryan screenwriters just like your face on a daily basis on their way to becoming professional writers. In order to be able to flow along with this course, you will need to visit knowledge of screenwriting, screenwriting software of your choice, and basic knowledge of how to use the screenwriting software. Be beginner, intermediate, advanced screenwriters. In this course, you will have access to tons of Roe versus a mature virus and self-description extra alone acreage gap analysis of example provided in this simplified Laney experience, which practically It's used by professional screenwriters. Each lesson is designed to go straight to the point and cut through the fluffed found in most known establish screenwriter screenplay discretions. The false projects of this course will prompt you into engaging the knowledge you've acquired so far from the first few lessons, where you might have learned about some popular errors. More screenwriters means. Also, in the second part, you will be able to apply the professional screenwriting techniques you might have been equipped with from the rest of the course. This course makes all the essential building blocks of description screenwriting to master. Before they did not know that screen. There are whole designed and used by professional screenwriters. I've used them to kick-start, yeah, All carriers of thumb moisturize and Harold, I value t is like practice guides, sizes and Claire, straight to the point, delivery to help us brownie writers achieved that dream of Donny bro and leave the light, the means to do. Therefore, by the end, you will be able to craft an industry standard scrape the description. Are you ready? Let's get started crafting the best screenplay description. 2. The Soul of Description: Hello, welcome to this lesson titled The Soul of description. My name is Isaac. This lesson you are going to learn about techniques that are very crucial in screenwriting. These aspects is going to point out one of the TAs, if you are doing wrong in your discretion writing that are very harmful to our entire screenplay. What is the soul of description writing a screenplay? The answer is simple, visual language. If you are writing a screenplay, writing a visual audience, therefore, it's your obligation to paint their visual image only meant for the screen in a condensed way. You write only what the camera can capture, only what it can see and relate to it. Not anymore. What ever you write in the discretion that the viewers can't see on screen is irrelevant to your screenplay. You must remove that visual storyteller in screenwriting is showing how things are, instead of telling it. Showing character performing, or expressing that emotion instead of telling. Every sentence in your script should have some effect on the reader, should make them feel what you want them to feel. You want the reader to experience the story, not just tell them what happens. The screenplay is the movie. Your discretion is what makes it worse, right? It is transferring emotion to the reader through word. No one will see the word. They will only see the movie. It's never going to be a movie if we can't transfer our passion to the readout right from the pH are some common errors non-professional screenwriters commit while writing your discretion, industry inflated and how to avoid them? Number one, writing things that had not yes. Pressed on screen. Don't include any female in your screen writing description. Any details that won't be picked up by the camera is wasting space on the page. The following is an example of a description field with Johns e.g. Ella, enjoy the sweet smell of lavender wafting through the window. She couldn't help but think back to Time or the cottage when she was a child, the court, it was a beautiful, quaint 18th century audience in West Yorkshire. You could tell a lot love that cartoon. In the above example, it is clear the writer doesn't know the difference between writing a nova to writing a screenplay. Talent that ell enjoy the sweet smell isn't in any way going to show up on the screen. If the story is later produced, writing about character has passed and feelings is just telling it, which is not going to end up on the screen. It is a total waste of time. Page which will immediately scream are material to the reader, even if the description is written with the best choice of words and artistic flow, it is bad for screenwriting. Imagine feeding chocolate to uneven that are unfulfilled in screenplay, which novelistic writing style can be. Not enough. Information about the character really matters your discretion unless Eve, the order of lavender wafting triggers a lab back to a very important part of memory that is connected to the plot of the story. Then a scene where LR receives a Florida, looks like it will often 20k suffice aware Ella in here and border does smell like the veranda Watson could work. The point here is to show, instead of listing unnecessary details about the character, never tell us what the character likes or dislikes. Never tell us our backstories or background details. If you do, there won't be any to interfere and make a movie with, because you've already said it. Just show them how it's important to the plot of the story. Number two, on routine, inexperienced screenwriters do why writing discretion is derived? Characters, internet thought and emotion. Again, screenwriting, not nowhere right? This time you are writing for movies. Screen, forget everything you read. Your favorites. Romance novel. It doesn't apply here. Literally telling us about the character's emotion or feeling as the story goes is a very bad screenwriting practices. Instead, the profession as techniques this filling in are taught of character without sneak it in. The description e.g. a. Description that says when he hears the employer call for is taught, it gets very scary compared to hear a joke remark from the inside. It's become so cool. In the first example, the right that tells us it gets very scared, which is a typical example of our inexperienced screenwriters, destroys the visual language of that description, is very displeased, is very tired, worried, something bad might happen, is anxious, is cool. Or she looks. So far. 3. Features of Screenplay Description: Welcome again. This lesson you will learn about what you are required to write in your screenplays discretion section, we'll do a brief breakdown of what you are required to include in order to make it a complete description. Then in later lessons, you'll learn a great deal of them alone. Examples. Now, let's start with what is screenplay? Also called a script. A screenplay is a written document that includes everything that is hot on screen, locations, character dialogues. Actually, from the first drop to its final incarnation, currently tells a story I'll have. It is also a technical document that contains all the information needed to feel it move it. Now that we know what is screenplay is, what that is discretely, discretion is in description is also known as action lines, which describe carrot top. Innocent party can also describe the audience, can't see. The screen. Description is the most challenging part of the screenplay. It is this section by which a good screenplay is determined. When a screenplay is called a screenplay, the visual description of the actions or series of these up entirely what is being referred to. Unlike, you know, girls, which can be a rigid, it diverges or a screenplay format. Action lines always be rigid. In the present example, the science lobby sector. Joe squads behind it loves Dacia. It gives this nice behind his back. A good screenwriter uses an active voice instead of passive one. That works. Also, use it to maybe ING verbs, e.g. right is running, right. The wrongs are erases. Sentence fragments are not a problem. Spring, right? It looks at surprised. If PBL taken a cover behind the sulfur. They are often a great technique. It's all about painting the picture there with us by non-profits. What should be included in the script lead is crucial. Location description, description, character introduction to prop up objective description. Irish shows up sequence of actions and reactions performed by the character's situation distribution, which is the outermost pair. Location discretion, the square, right, that shows us where this is taking place as it is usually specified. Yeah, The beauty of this set of the scene is briefly introduced in order to set the mood and the atmosphere. Obviously, the screenwriter doesn't have to describe a set or location, but show us our views because the screenwriter isn't costume or set dressing. Feeling or attitude is to scribe instead of the specific details of the probe or object description, this is where the screenwriter describes what the views can't see on the screen. A prop is an object used by data and that can be held. They had a seemingly little details that will what your character is, it believable. Character description. This is where characters are introduced, the cross time they show up. The screenplay. Conventionality, the first time you've mentioned a character, names should be written in capital letters. Any subsequence mentions should not be capitalized. Narrations of sequence of production. This is where the sequential narration of actions and reactions of characters, the situation discretion, which is the border Hospitals, evocative marriage of everything going on in the scene with no the board. Now, let's learn more. What is the difference between this batch scripts versus a shooting script? Hollywood and auto industry used two different types of screws are slightly different. The first group, this is a type of script written specifically with read ossify. Spec scripts are written or speculation. That is, a writer creates a spacecraft or pinball speculating that it will be up options purchased and ultimately produced into unpacked job. Without a mind spec script don't contain any information about our discrete place should be beamed or editor. Shooting script. Once a spec script as being greenlit for production in your script is created as a practice paraphrase for the production crew in addition to any rewrite. Beam drawn on the space scripts to suit a production has come trained constraints it should just scraped to wear also contain additional information about how and where things will be. Alone with credit sequences. Say nobody has an order, elements that don't concern respect writer. Obviously that has the screenwriters are the list of things that most feature in the description section. So there aren't who obtains to avoid like the plague in the description section. Therefore, a is at least of what should not be included in a screenplay description. When writing your screenplay, discretion at the list of mistakes to avoid. Now by 10 valley elaborates in description. Screenplay is a recipe, not a main. Resist the urge to delve into prose. Narrative. That means your action lines should describe the events taking place as simply and efficiently as possible. Avoid using 0 valley or needs or poetic language to describe yourself. Particularly if that language isn't visual. Camera, Script place, especially bad screenplays. Don't. You? Permission for Alex is shoot. A giant rows down declines phase. And the director, cinematographer will decide what kind of transition are hungry they need for that. Camera directions are a big no-no in a spec script. Unless you're planning on directing the film yourself or meet any references such as close-up, camera follows foo back to review. Zoom in on Tom, pan across to begin me tattoos, lonely tracking, POV, intercourse, split-screen enters frame. So not only are you taking the reader out of the story by reminding them that this is a movie, but also facing off the potential industry coverage. It careful word choice can also easily be used to suggest coming up with all to be bleached out. It's easier to remove the camera direction without affecting the shop. Also have white directing actors. Just like the director doesn't want to be told which camera angles to use an eye toward us. Appreciate you doing their job for them. Either. I'm only use fiscal direction when it's essential to. Similarly with music direction, avoid Amy song tracks. Scraped. One or two is fine, but don't start listing the entire film score data. If you resist, the mic tracks is best avoided. Forced. It is not the screenwriters job to dictate what music that calms down to the director, as well as it is advisable for someone who's crafting the spec screenplay to completely abstain from the use of the particle elements such as carbs, underlining, italics, or colored text. I'm moved in their screenplay description and there is no need to emphasize that motion, sound, or objects by placing them. This is possible. There is also no need for underlining italics or colored test scripts or anywhere has a script for that matter. When submitting your final draft also makes sure that you moved any seat numbers from the document. Finally, overused. We see here this is another clear about your air. Of course we see it's a movie. The majority of the time. You are going to be able to call this word from your sentences. Many remain exactly the same. In fact, it's often makes the light more active. Okay, Now that we've learned what it means to write a screenplay description, we are not stopping there because there's more to screenplay discretion that merely writing it. I say it's time to dig deeper, dive into the techniques professional screenwriters use in their works to craft is payback screenplay of water. These techniques take their screenplay from ordinary two Oscars. Are you ready? Let's dive in. 4. Verbose Description: Verbose and discretion and other buttons that screams or matures discretion is right and bubbles and discretion. So much it for screenwriters to use this same discretion to explain a wave of story elements, character history, a bar graph. Actually, the goal is to make the discretion read at roughly the same piece that you would be absorbing the sight and sound of the moment described harm professional artists and writers would go as far as writing every single details about the location of the scene that I enjoy showing the only details that are relevant to the scene or the plot of the story. There's no need describing the surface of the table or the 200 year old bolt hand on the wall, e.g. the following interior spots, bar night, patron fuse every seat in the BCBA music players from the 1950s, juke box next to the pool table in the corner. He bought us off board, hangs a bowl that they did, but try to evoke location through action rather than static images. Interior sports bar, night color struggles to play pool in the crowded bar. Sets the same appropriately. Tell us where we evoke atmosphere if necessary. Tell us what is present at the beginning of each scene. Don't feel the need to list every single item in the room in order to paint a picture of it. It's completely about writing to feel the need to visually tell us everything you can imagine going on in the scene. Again, those are not necessarily as they are not going to feature on the screen. Also, you can describe a character as a troublemaker who has been true present multiple times on Israeli recovering drug addict, you would have to showcase scenes of that character in prison, going to drug addict support, group meeting, or include all of that information within that dialogue. Screenplays are a visual medium, okay? Basically, what you are required to write in your discretion or mandatory got imagery that are very crucial to the scene. You are tasked with telling the story cinematically through visual actions, reactions, and audible dialogue. If it's not going to be on the screen, you can't include it within your screenplay, which is a blueprint for communicating to the director. And said motto graph at what is to be seen on hard on the screen. If it's not going to be shown on the screen, you can't include it in the script. And if you need it to be shown on screen, you have to do so. Truces. The format that communicate those things. Slug line, location, head is seen descriptions, character names, actions, and therefore the following. What to never write in your discretion. Taste, odor, color a few. Every audio. Thoughts, thoughts and feelings, backstory details, and background information. Long REG details of characters move, futures location is three lighting situation music, and so write the following year discretion instead. What the viewers can hear, see or relate to it, such as condensed seen discretion that is written with a snake, the atmosphere, characters discretion with just one or two word actions and reactions written visually and evocatively. The sand, the characteristics, or the sand and objects in the same mix, right? Music, if it's very crucial to the plot of the scene, right? The lighting situation, if it's right or to the plot of the same, right, a particular objects in a scene discretion if it serves as a foreground or subtexts to the plot of the story. You've been taught how to portray characters, emotion, or feeling, right on page one as well. All these and many more are going to be for that looked into in the later lessons in this course. See you there. 5. Junky Yard Description : In the previous lesson, we learned about arrows, non-professional screenwriters, gametes that are very harmful to the discretion writing a screenplay. This lesson again, we're going to take a deeper dive into all the arrows, screenwriters gamete. Why writing that description. This time we are learning something called junkie add discretion obviously hits two means, bubbles discretion. But the advanced kind of it, a lot of things can go wrong with a screenplay. Overwriting. The discretion is one of them, and it's a bad and very addictive habit of, on established screenwriters. Producer regard the screenplays as too much of black stops. The writers tend to be too skewed with Word and various Matt at plotting the flip fancies, vocabularies as the eventually cramped up the whole page with a lot of black stores of crabs and jobs that are very two degrees to the visual interpretation of these. Two things go wrong here. First, the writer likes adjectives and adverbs to much. Later, we'll learn more about our adjectives and adverbs are too dangerous to your screenplay. Secondly, they like writing with fancy vocabularies, even if it doesn't fit the context. The key problem here is the writer as read too much of romance Nova, and no too much of grammar. It discretion is literally considered a donkey when it is overwritten or what? This paint the description section with a lot of black starves. The black stuff is the descriptive non dialogue portion of a screenplay. This screenplay writers are often told that script, which too much of it are rejected as being verbose and ponderous. Most time, too much of inflammation is dangerous to the screenplay. Takes quite a difficult task. You discipline intellectual effort or less nurse to maintain the context of the screen while writing discretion as a well-known writing advice goals, you must kill all your data. If you can eliminate a sentence, a phrase, or even a few word, you probably should. This is especially true in a screenplay, which is a space bound script place typically around approximately 90 to one to two pages because screenplay pages is roughly equal to 1 min of screen time. And most movies run between 90 min and 2 h. You don't want to waste your precious space because you want to show off your writing skills and fancy vocabularies. As the writing saying goes, less is, more, is a visual medium. Stories are told in pictures accompanied by dialogues and musical scorer. This is vastly different from the literary world of novels and short stories, where he does a spec, colorful and articulate discretion to set the stage. An auto CAD go into specific detail about the setting and location of this moment within the story. It has paint, the picture for the reader. Screenplays, on the other hand, literary blueprints used for last k collaboration to communicate the visuals of the screenplay. True film and television mediums. So elaborate details and descriptions that aren't necessary or desired for screenplays. What you want to accomplish in your screenplay is to create a cinematic espresso. Within the reach of your script. You want those visuals to fly off the page rather than hand in the details of discretion. You want the reader of scripts to feel as if the movie is playing within the scripts reader's mind and imagination as fast as they are reading. If you override, if you override the script, you are not offering to script reader experience and making it difficult for them to see the screenplay as a potential theme. What a script reader needs and wants is to be able to see that cinematic story unfold within their own mind. We did in their own mind eyes as quickly as possible. From a reader's perspective, there's nothing. Was that reading an overly descriptive or articulate an excessively word discretion, it skews the read. It's odd. Any momentum of the story are primarily, it's frustrating because it's just not worth. Screenplays are meant to be readers want to read us, want, or need to see the film as quickly as it would be projected on the big screen. And that can happen if screenwriters or overwriting it. Therefore, the arrows that bring about junkie yard description boils down to the following problems. Description in screenplay uses specific and powerful word, particularly verbs. It is evocative without being exhaustive. We don't need to know every item in a background of a scene unless it's pivotal to the plot. We don't need to know the color scheme of the room. We don't need to know the types of chairs, plead appliances, and declarations. We also don't need to know what brand or type of car, computer, smartphone, or other items keratitis use it. If it's a scene where a character grabs a coffee at Starbucks as a reader, I really don't care about the fox via please flame, warming, de Broglie, latte drinkers. If I'll have my protagonist as being separated from his part of a decade. Some extra details about the scene where the reunite would be workup. Now, we've gotten to the core part of this lesson, why we see for ourselves and learn about what overwritten discretion looks like in a screenplay in light of the discretion, right? And he just painted in this lesson so far, the rest of this lesson will be reviewed with examples of junkie or descriptions and how to correct them. We'll take a look at the examples of overwritten discretion along its condensed versions. Now, let's start with the following examples with the influx of adjectives. Example what overwritten version? Interior prison cell, night. It dark hallway made entirely of stone, stretches into a black void. It dripping of water is hard as condensation escapes from in-between the stones. And intermodal powders are the wet floor. The only light source comes from this cell block windows, the beams of the moves leaking in-between the rusty bars that keep prisoners from their dreams of freedom. Condensed version feed in interior presence. Night, dark, wet shadows, overcome any source of light. The overwritten version of this scene is a perfect example of what a majority of screenwriters mistakenly, right? They tried to create an atmosphere and visual style, but it's in does the read and gives too much information to process quickly. In the end, all that the reader needs to know is that it a dark, wet cell block example to overwritten version, interior, IRBs, apartment night, I mean the tundra and dim lighting, IBS issuing cards, Agamemnon moves from the window down the long twisting corridor and obviously Colvin staircase by the delicate pink proclaim, mean this away from the root. Defining storm. And tall is powder blue. Freshly cleaned? Means is Marilyn leader box. Interior class apartments. The Gentoo, happy go lucky protein, early poly fat man plays most one last bite of food or to spark and towards this mountain in miniature tweety, tiny wafer thin meet folks. We don't care. We don't care if the litter box is meeting clean or that staircase is coffee of the Ming vase is pink. Not unless its impact, story or character. Don't think you impress the reader. You are not. Tired eyes. Know what a fat man looks like. He doesn't lead. Rolling machine. Kind of character description. You get it. Okay. The main issue with the example of overwritten description given so far is the use of adjectives and adverbs, which are not how screenplay works. In the next lesson, we are going to further explore more examples of all the arrows in description writing. I'll see you there. 6. Less is More : Less is more. In a previous lesson, we learned a number of junkie description and how we can avoid them. Again, in this lesson's version of overwritten description examples, we are going to explore our screenwriters q, their location and setting, discretion weeds on female details. Let's get started. Overwritten version, a stereo desert today, the village of Iraq, Afghanistan lies shattered upon that the blurry hot desert song. The village as seen better days. But since the dawn of the American military presence, all that remains only echoes what it was was it is a pre-taught 2000s now condensed version. Exterior desert, the Afghanistan present. The shuttle village is seen off in the distance. When our specific locations and dates really needed how to. Often in script, you can find specific locations, buildings, packs, and so on. And specific date d, mod year. I needed unless is Iraq, Afghanistan, and a pre-taught to heat up specifically in regard to the location and time of the story. In this script. The whatnot, there's no need to mention them. Less is more applies to this case because with the correct version, the reader doesn't have time log know struggled to visualize a specific location. Obviously, in Saving Private Ryan hands case, the data location is necessary and serves the purpose due to the historical significance in this grid and so many others, they are not in short, only offer specify if the integral to the story. Furthermore, the overwritten version of this scene just articulate to March, it's unnecessary filler. There is a place for that from time to time. But in the hand or the reader needs to know is that they are. In the present time. I've gotten me start with a shuttle village in the distance. Forward, Afghanistan, present, shattered village, sea. So much, so much more immediately in print, an image for the reader's mind to comprehend quickly. Sure, it's only a sentence or two extra. But when you are overwriting throughout your whole script, not only does it add up to March as loader read of your script down drastically, but it also forces you to have more pages that you really need in the hand overwritten version. Interior, commanding officers, wardrobe, the room is quiet, not a soul. Insight. Chairs are left empty, sum pushed in properly as they should be. Why some remain obscure. Really slowly walks in the room noticing the askew chairs with the shape of his head. Hi, it's Dan, fall upon the coffee maker login. You pause a cop and dance, sits down at a table near the back of the room. Unbeknown to him, if we go sit in the shadow anonymously, risks reactively, eat from his coffee, grimaces and then cools it off with a soft blue from asleep. After a moment, it takes a figure. You know, the Navy always get blasted for not being as tough as marines or inventory. Looking at you blowing on your coffee. Now, I know why it started, such as the room for the corporate is highest fall on the figure seated in the shadows. It sees Lou tonight. Jason Stryker, taught in command of the submarine, is 46 years old and wise beyond his years. But that wisdom is accompanied by a free spirit set in its ways. Race. You know, we've been serving on this tau sub together for two years. And in all that time, I don't think I've ever seen you slip, strike allows and leans forward, is glaring high, stare back at rays, which is to encode gaze. This is not a man to be messed with Stryker of subbed my whole adult life in the military. I was a Navy seal, the elite, the best of the best. I've been in conflict that most people have long forgotten about or been to war. And I've never known a soldier or officer does manage to truly fall asleep as the chaos of deaths surrounded them. We say empty, walks in, pause another cup of coffee and sit down at a table in the corner. Or if he goes seat, hidden within the shadows. Risk doesn't notice it blows on the surface of his coffee before taking this figure. And we'll set the Navy wasn't tough. Race jumps back and notices lieutenant Jason Stryker, toting command is receding, hairline, gray hair, and sunken features don't overshadow the power of in his voice or the wisdom and strength in his high res. Chocolate. Don't you have asleep, strike cosmetics. Strike us, makes a beat on strike. Nobody sleeps during war, they could just close their highest. Try to forget. We have an example of not only overwritten seen discretion but also dialogue. First. The overwritten version of this scene opens with unnecessary fields. A lot of them in the screen description. Here we have an example of not only overwritten seen discretion, but also dialog false. First off, the overwritten version of this scene opens with unnecessary filler in the scene description. We don't need to know the positions of chairs. We don't need to be told that there's no, not a soul inside. All we need to know is the room is empty. Set decoration, and assistant directors will take care of the layout of the cheers. For production. The scripts redact can obviously pick Joe what an empty submarine, what room would look like. Don't give the reader's mind even a moment to linger with unnecessary description. Unless those chairs being S Q is integral to the story. We don't need to know in the form of the script Content. Furthermore, actors and directors, we dictate the particular movement of the actors in the shot, in the overwritten version, we really don't need to know that the grimaces not in the correct version in blowing on the hot coffee followed by the line of dialogue, stipulate the moment of the image of an otherwise tough submarine commander blowing on his coffee because it's too hot. That's all we need. It's short, sweet. And to the point dialogue wise, you can easily see that there is a significant difference between the two versions of this. The overwritten version is very representative of the screenplays that script readers read these days. From over commas. So much of each is too on the nose and so much of it is just not needed. The details in a scene description in particular are short, sweet, and to the point, readers can read discrete fast and even more importantly, they can see the theme through their mind size at a much quicker pace without losing details or momentum because the visuals are so assessable due to send discretion. That is, again, short, sweet, and to the point, the following is the perfect example of how adverb destroyed the visual language of the screenplay. Stereo, were afraid. House morning. So Lumley closing his car truck with forward, you walk slowly towards this liberally standard Martian left to him in fat as well. The WHO toes releasing infuse light, nowhere come at all. Suddenly leaped is single bag sheepishly moving towards the front door. The influx of adverse in the above example makes it hard for the reader to Chris tally and vision the action descriptions in their head. Pick your web where you won't need an adverb. Try this before you send us creeped out a light, every verb go to Tesla's dot com and find a stronger choice for each. It's quite a walk, but it differentiates you from the 50,000 or that newbies. You'll be writing scripts. Control what you can control verbs to control that. So don't overwrite, economize, keep it simple. Claims per cent time, your descriptions need to be vivid and evocative. That is the big challenge with screenplay discretion, finding that balance between economy and detailed achievement resonance with an absolute minimum of word. It's not easy. A task result like precision. Keeping oddities of this lesson in check with save your screenplay from becoming a junkie add, where junk and garbage of the Blackstone dog. 7. Hidden Errors: Eden, discretion arrows. Now it's getting interesting as we unfold it and mistakes most non established screenwriters make. Writing character's facial features and expressions details, body type is dies, dressing styles, directions, and unnecessary action descriptions are Hall examples of Eden. Arrows in screenplay. Less is more is the best mantra that screenwriters can embrace because it serves their script so much better than overwrite it. Which sets too much atmosphere, too much direction, and above all, too much information for the reader's mind to process why they are trying to visualize what is meant to be a fear. Most non pro, screenwriters include far too much unnecessary information in their, in their script. Some examples are Example one, Tom goes to the door, unlocks, it, turns the undo enters the flood. We really need to know it. Unlock the door or turn the undo. Know it's unimportant. We don't need all these details unless it's used as a buildup for Esau space. However, it's not going to be written word for word as it is in this example. Rather the probe would write it advocated. Obviously suspense is not the case in this example. That's just the way our materials think screenplays, action descriptions should be written, writing it to the backbone of the actions performed by the characters. Example to beta seat on a swing chair, he picks up a wine glass, sips, save all the excellent vintage. Enters, sits next to him, begin to see a white. Also, the above include considerable detail. It's verging on being verbose. Do we really need to know pitta picks up the glass sips of the excellent gene teach. It depends, is skewed right arm may be trying to lock us into a sense of peace before eating us with something explosive or dramatic or the writer simply fuse. We need some downtime after a lot of dramatic scenes. Also, the following are these strange or awkward opt-in demands that are often found in nonprofessional screenplay example one, calorie equals or hybrids and clinches are two. Example two is square root is higher than rows, is Dung on the inside of his cheek. Example, macros calls is hopper lives and Labs example falls suddenly, the corner of guests dip switches, then it slowly rises and stays there. Example, five, leech nostrils flare and it speeds as detox example, see suddenly John's, it snaps back in shock and it stands. Top line is. Now it's getting weird to feel the need to write details of natural actions performed by the character in the screenplay. Does the job of the actor. You don't need to write the way actor should express their physicality. Often, it's clear what the writer intent with phrases like this. But another way needs to be font to get the action or emotion across. Screenplay doesn't need this rapid reactions and gestures of the characters to be taught as literally as it is in this example. Again, after we take care of that, Unless you are writing a note where you don't need to explain every beat of your character's action to the skeletal necessary. Always aim to direct actors as little as possible and let the circumstances of the scene, so just how they should play. Very often, this means simply leaving out any specific instructions on what they should do with their face or body. Also, let's check out this example. Shane, it when something big with eyes, blue eyes, and a non-gender manner walks into the bar, which is a cross between a TGI Friday and it died. He enters the room slowly, take it on, pauses before approaching the bar where it has achieved domestic beer. The bartender, almost as sad as the views this crash plastic mug and answered, She instance is casual, but these eyes are allowed. It looks around, assessing is high stopped on a young woman. This will be better if chains character was reviewed through action rather than straight description. The sentence about this stance just described him standing there. A better choice would be to describe him doing something specific. Also, unless it's eyes, blue eyes, we go into the plot, it would probably be better to describe his attitude or bearing rather than a specific fiscal future that may or may not be part of the actor actually costs for the DevOps used here are blanched. The verbs use a bland and generally works, enters, pauses, approaches are different. This would be if she is dumped into the bar across there, the bartender and demanded the tone of the scene would be much clearer. Finally, this descriptive passage is quite worthy. In fact, several of these sentences, This shutting, combined or turned into fragments. By example, he enters the room slowly, taking it all in, could be shot into, is slowly enters, observes carefully. Likewise, the final sentences. Shays stance is casual, but his eyes are a lot. It looks around, assessing is high stops on a young woman could be combined into Shays casual stance. Belies is Rubin's assessing eyes, which starts on a young woman. She blue highs, on the other hand, don't really imply March about war is as a person, shane art instead been described as wearing glasses, the reader would know something important about Shane's identity and appearance. Whether the black stuff is introducing a character, describing the setting or an object, or detailing an action. It must be evocative, clear, and concise. Also, if we are introducing a character and going into specific detail about what they are, where you are overriding that wardrobe description. The majority of the time. You don't need to go into any detail. Only describe specific articles of clothing or wardrobe that are patches to the story and characterization. Everything else is either assumed or detailed by the head of the wardrobe department, costume design. In this lesson, you've learned about hidden heroes in the description section of the screenplay and how to avoid it coming up. Next, we'll learn about different ways to cross check our discretion in order to weed out anything that is bad for our script. 8. Project One: So far you've been taken by the hand or notch down the path of contest description writing that leaks. Therefore, it's timed. You put them all into action and show us what you've got for your newly gained knowledge so far is the challenge to engage with. You have to craft before and after of random extracts from your script play with the application of the knowledge you've acquired in the previous lessons. Then you are to screenshot and upload them in the project section of this course. Notes that if you don't have a screenplay, that you should write two different screenplay discretion. For randoms. I'd apply the techniques you've learned from this lesson up to this point, up there. At the head, a critical constructive criticism sharp. Be engaged in giving you feedback. Ready, Good luck. 9. Styles: Writing style. Another important part of description of screenwriting is tau, which is another word for voice. New screenwriters are often confused by what voice is. So we'll dive right in and show you how to develop your voice true the way you describe things in your screenplay and the attitude of your discretion. Voice is basically another word for style. And even in a screenplay style is important, we are able to identify the distinct writing styles of our favorite screenwriters that may cause love their stories. By reading professional screenplays, I can tell which one belongs to simply by reading and recognizing the way each of their discretion styles differs from the order. Quentin Tarantino style of discretion is different from that of our unsung kin. We show Shane block will then go to man or shown that rhymes and many others. Quentin Tarantino's masterful monologue. Song Keynes, long sequences of quick paced dialogue. Sofia Coppola has etera, stylistic ram. Their style is so distinct on the page that we, as viewers can identify it on the screen, it makes them stand out. Every writer got a way with words, and we all use the word differently to paint the same picture. It's comes out in our integrant. The writers descriptions. Are there, characters peak and the overall filling, the evoke in the reader. Your writing style is what marks you as a writer. So the first most important quality that most content is you without the title page, your writing style is a little way of knowing that a screenplay belongs to you. That is why you see your screenplay discretional read differently from dusk screenplay you read, yet, comparing it with non established screenwriters works like yours. You feel like it doesn't sound quite different. This time. That doesn't just mean there's something you guys are doing a lot. It just means that something you guys are not doing it. You are the only one who can tell the story a certain way. So in the same way, right, as most determined why their audiences should want to follow exciting protagonist. They must also recognize why those audiences would want to hear the story from them. Develop your own personal style of writing. Action, passages. Style breaks up the page and makes your writing distinctive. Some people complain about the concept of tau on the page. Sudo, just writing this story be enough. The problem is, we are writing for a visual medium and onto day We're rolling and action. What we write on the page is the movie. So we want to give the filling of the movie within the rib itself. And sometimes that's all about presentation. The industry readers read thousands of screenplays in their entire life and they are already familiar with, are more screenwriters use word in that narration. It will be a great deal for you as a screenwriter, if you can let them experience a unique style of writing, especially voice in your screenplay. Everyone got one. Even in real life, we all speak and express ourselves differently. Most aspiring screenwriters are just too engrossed in writing exactly like the screenplays. They just read. Sound because they were impressed with what they just read. Now, it's your job to get rid of your own screenplay to sound like YouTube and impress your readers. It's not a bad thing to mimic the successful. In fact, that's where this course draws most of its ideas. And examples. Imitating a good idea is great if it's used as a guideline to develop your own unique narration style. If you walk into a screenwriting classroom, the first and most common piece of advice, you'll receive these rights, water law. You hear this phrase so much it will haunt you. The reason you'd be hit over the head with it so many times is that it's essential to creating your authenticity as a writer and subsequently your writing style. Your writing style is influenced by your personality. The most real part of ourselves are often those that cannot be seen. The key to grip in the emotions of your viewers, which is in regard to cultivating your writing style, is to insert part of yourself into your story that fuse true, undeniably true to you. We want to make that same persona. Description in the film industry. Standing out can mean the difference between making it and breaking it. It will make what you offer the industry unique in such a competitive field. Distinctiveness is vita to not only break it in, but also in maintaining a carrier. It's therefore crucial to find your style as a writer. So how do you insert yourself into your story without being too later on? It's by digging into your own emotions, relationships, and even studying the people, you know, think about the feelings you have experienced when they came off, what they compared you to do. Will you associate them with? These are the things that feels most familiar to us. Humanity lies at the heart of any powerful story. To make your story powerful, you must dive into what shapes your humanity. This is what will make the content attractive. Now, this is where the content of your writing, we shine. But out do you stand out in terms of the forms of your writing? There's a one word answer for that voice. In screenwriting, it can be challenging for an aspiring screenwriter to maintain the rules of screenwriting structure as the attempt to own their writing styles in dreams. So it's important now to compromise the nature of screenplay because that's what holds everything together. I'll then do you find your voice? This is the biggest question of all, and the reality is that nobody can tell you what your voice. Yet. It is the single most important quality to your writing that will make you stand out. One EPFL exercise is to again study yourself. How do you tell stories to people? You know? Where do you emphasize through more drama, actions, emotions. Start by writing your stories the way you tell them, to your friends, your family, to people around you. What you are certainly should not do is try to emulate the voice of another writer. You are no doubt writer and you do not have to sunlight death. It's easy to lose your authentic voice when you try to make it something it's not and it's very difficult to get back. So I appreciate that your voice is. Now the question you've been waiting for. How do you find your writing style? Where to begin? This is a big, important question and yet a tricky one to answer. There's really no straight and narrow path to finding your style. If you don't have any concept of what a writing style looks like, the best thing you can do is read. Read the work of multiple writers. I read multiple pieces from each writer, you will begin to identify distinctive features to the way the right. And you just might be able to hear their voice too. You notice inconsistencies as you read the work of other writers. For instance, some writers idea to certain rules that other writers were not bought out with. Some writers of what the app descriptions, while others we keep it to the point. That's all part of stars. And the best way to learn about different screenwriting styles is to read them yourself. Learning from other writers is not an invitation to imitate their writing style. Inevitably, there'll be likely be similarities between your writing style of powder, right? I'll have your writing will lose authenticity if you actively, if you actively seek out the similarities. But in order to add, you'll get a grip of your writing style very fast. We will dive into the common techniques. Most professional screenwriters use. Their screenplay that heptane pronounce their writing style creative. As we explored different types of evocative writing techniques in the subsequent license, the best way to find your writing style is, well, to write. As with any other skew, right? It takes practice. The more you write, the more you learn, the more you lend out to insert yourself into your work, this is the best way to grow at find yourself as a writer. Now, we are all set to take up the next challenge as we dig Bob, evocative writing, which is the common techniques most professional screenwriters use in their screenplay. In their screenplay discretion that helped them pronounce their writing style creatively. See you there. 10. Evocative Narrative Technique : Finally, welcome to this lesson. In the previous lesson, we learned a great deal of what it means to inject a parson are imprint in our screenplay. In this lesson, we are going to learn the tools to her pulse hernias are writing Star creatively and evocatively in a visual mode. Evocative writing. You've been hearing about this writing that me as a screenwriter hover here and there. But today who are going to finally get a total grasp of what it really meant to craft and evocative kind of description. Screenplay. Let's get started. What is evocative? Writing? Basically, it is the use of fear was to paint a vivid picture in the mind of the reader. The evocative language is so vivid, realistic that it makes the reader feel as if he or she is in the story as parents in every event alongside the characters evocative language app to hook the reader into the story from the get-go. It's more like poetry or I could've each word in your screenplay description needs to be the most evocative in order to paint the picture with as few words as possible. One of the problems new screenwriters often deal with these novelistic writing. Death that boost flowery and padded screenwriting gets right to the point. But in the most entertaining way possible, the use of evocative writing, great empathy, which is the action of understanding, being aware, of, being sensitive to, and they seriously experiencing the feelings, thoughts, and experiences of another. It's really good thing for a reader to feel when they read your script. Screenplays that inspire our body empathy indicates that audiences, we connect with the characters, stories on the screen to write a navigate. If screenplay description is to write a movie clearly and compellingly expressed to a reader what they're seeing and experiencing when they watch this movie on the screen. Screenplay discretion. It provides the imagistic visuals. It doesn't have to be written in full sentences, nor does it have to follow standard grandma. Therefore, in order to imply this that needs, here are the helmet evocative writing techniques that walks the magic number where the use of descriptive verbs, number two, showing and not telling narrative techniques. Number three, the use of figurative language such as simile, metaphor, personification number for the use of Eden discretion. Number five, inserting is Nick comments. Now let's briefly look at them one-by-one, fought the use of descriptive verbs. What are descriptive? Verb is a word that's used to describe an action. Descriptive verbs or strong verbs, are single words, actions that form visual image in the reader's mind, giving it a boost of color and energy. Weak verbs are simply commonwealths, wet that describe the bare minimum of the action. E.g. if your character is running after someone, you need to write a word that provoked visual, as in erases upper him or his sprint after him. The world races. Sprint, describe the altitude of the more than deploying world. Running. Some script so far from being underwritten, making it hard for the reader to clearly visualize the scene playing out. Gravity alone is not enough if the few words you use to land on generic than you need to replace the variable with a more descriptive word, e.g. work is too generic, so you need to replace it with a perfect synonyms, creep into straight straw. Straws, matches balances, tip toes. And so what we will do an in-depth breakdown of this in a later lesson, tattooed, descriptive. Now showing and not telling narrative technique you've been taught all the time to show, not tell it. One of the hardest thing in neurite out will learn. Screenwriters have these unlocked. Screenplay is a visual proofs. Remember, you are writing a movie unlike Inova, which can eliminate a character's interior thoughts or spend time describing the setting or place. A screenplay should only contain information that you can show on screen. The priority of it is, what is the audience looking at? Can you convey it to a reader in a sentence or two? You make it interesting, emotional, dramatic, and visual. This means that if a character is feeling sad, you must find a way to show that they are sad. For instance, instead of writing, Jesse is sad. Because our dog is sick, write a scene where the character skipped meal and take the dog to the vet. Here's another quick example. Think of a photograph. It shows you exactly what is going on at the exact moment. It is napped. Now, think of someone just trying to objectively describe what's in the photograph. There are three people. One is mad, one is laughing, and there is a dog in the background. This is telling is screenwriter can't just write in a script. Does someone is angry. It's too vague for a visual medium. Instead, they have to describe what it means for a particular character to be angry. Also, instead of saying the room is dirty, right? And show us the pixel boxes on the floor and spent beer cans on the sofa. Or this talking around. This div and immobile scrolling or scarily blank by covering not only what a character is feeling, but also are there acting outwardly. You more clearly paint a picture that a reader will become invested in. You can adopt to show, not tell in writing advice. It will help you to achieve evocative writing. Another way to achieve evocative narrative in description screenwriting is to use figurative language. What is figurative language? Figurative language is best described as words that say wanting but me. Another language that isn't literal. We have a list of devices, its uses in literature, but this caused only adopt simile metaphor, personification. Some may disagree that screenwriting is a literary art form. While it's true that a screenplay is a transitory document, nasa free to turn an idea into a few screenwriters job is to make it an entertaining read. In giving the reader experience of watching the film. This literary devices and literary elements help you understand stories and how to tie them effectively. Use of figurative expressions works brilliantly inactivating the audience's imagination and adding texture and an extra layer of depth to the scene description. This results in ultimately improving the audiences overall cinematic experience we try to devices can be split into two camps. Literary elements and literally techniques is a simple way to distinguish between the two. Literary techniques are constructions of language every writer uses to convey meaning. Our techniques are the how of your story, how you describe this? Are you compare things? Are you expressed your main character? All of these are strategies to affect your audience. What are literary element? This can be thought of as the word of your story. Common literary elements, examples include conflicts, plot, protagonists, teams, and so hot. But these costs only deals with the literary techniques in description writing. So how do you deploy this literary techniques in your screenplay discretion? Figurative writing apps in achieving evocative narrative within the screenplay description. Because of benefit they can heart, where we'll take a look at some examples such as simile, metaphor, personification of figurative language, and how they are used by pro screenwriters to enhance a scene description in the screenplay. Another evocative writing elements is called hidden description. This is where you write a narrative that has more than one interpretations and help you tell more about what you are narrating, are describing without having to spew them all on the page. The idea is the content or the context of the content that often review the subtext, e.g. interior mark, living room, the effects of fresh cut flowers on it early on the baby grand piano. There are times when interior mark living room day is too generic. Derrida need additional information. The trick is not to board the reader by completely describing the living room like in Nova. Instead, find the one or maybe two details which gives us a clue to the rest and let the readers imagination fill in the rest. Again, where we further explored this in a later lesson. There finally, adding a sneak of comments. This form of writing is one of the screenwriter secrets that makes that pronounces the writing styles. This technique is what most aspiring writers come across in the pro screenplay that got them thinking if they would ever write as evocative and beautiful as this. So what then is the snake comment? It is the form of screenwriting style that allows the writer to cheap in an extra layer of visual description to the character's actions or reactions. Instead of stating the literal expression on the character's face, the comment describe the action of the expression. This is the best way. Chro screenwriter visually tell the Internet all of the character and viscera expressions, e.g. in this extract from David Shaw, the writer of the Good, Dr. Preston, shakes ahead, knows where this is going. L leaves live in delight. Whoa, Jared can't believe it. This is a great tool that can come in handy if one can get a firm grip of it and use it. Later, we'll dig further about how this form of evocative techniques world's professional screenplays with examples. And now you can also adapt it to create your own unique style without breaking any visual with that. But not everything said about evocative narrative techniques. In the following lessons, we will learn sequentially a great deal of examples from screenplays by great screenwriters that I've used these techniques in their walks coming up is the use of descriptive verbs to achieve evocative screenwriting description to see you there. 11. Expressive Verbs: Previously were lens briefly about evocative narrative techniques which set a pays for every technique introduced in it. Therefore, in this lesson, we are taking a deeper dive into one of them called as oppressive verbs, inside which you let one of the evocative narrative techniques professionals use to capture a movie on the page. Let's start with what are descriptive verbs? Descriptive verbs are strong verbs, a single word action that for visual image in the reader's mind, giving it a boost of reality in the reader's imagination. It's particle arises action or give the reader a more specific or concrete description than a general. Weak verbs are simply commonwealths word that describes the bare minimum of the action. With descriptive verbs, we see more than an action performed by the character, but the attitude of the action, it's a complete what does suggest more than it means. For instance, the word walks vessels, the word creeps, the force word just tells us the action of walking only why the expressive word creep both shows us the action of walking, how the action is being performed, all in one word. This expressive gives specific definite qualities to the action and action come to life as present verb is the form of evocative writing, the absolute great words that moves in your descriptions. If you want to create a professional screenplay, you must learn to make the word breath into the screenplay. This will allow you to create a screenplay with the worst that leaps off the page and make the story look like happening right now in front of us. I think your first few sentences of description needs to show that you can use Word. And then the rest of the sentences in the screenplay should probably show that you are very good with words. What are important in screenwriting? Weight, which is present verbs. We want to create images that suggest other images by using words that suggest other words, wet, that are doorways to more information rather than dead end, where it means only what they mean? Or does park emotions in the reader look for the emotional weight we don't want to write. Sit down because that is very bland on emotional, a dead end, a sentence that does it spark other images and emotions. One of the mistakes new screenwriters often make is thinking that succinct writing means blend writing. When the opposite is true, you want to use evocative words that conjure up images and emotions in the mind of the reader. Bland writing is bad writing. If you are worried about a mommy. Screenplays you've saw Q inside the movie with just words, making it seem as real as dream in the deepest part of the night. Best screenwriters make you see a movie on the page. When you read a beautifully written a screenplay, you fly through it. Flipping pages. Experiencing the story does craved, isn't just a bunch of words line there are the white paper. Those would move. They are alive, which are the most emotion and emotion of the movie, right on the page, you have to make us see the movie on the page. One of the techniques to achieving this is using descriptive verbs, which gives a soul to the non, create a visual image in the mind of the reader, e.g. will point in the code, the screen flashes and Christian activate it. We picked up the sniper rifle. Ps true. The scope, she stamped on the brakes. The descriptive words in these examples, punches, flushes, or storms. Another way to engage descriptive narrative technique is to write about interesting characters, will do things in interesting ways. They don't just sit or just work. Everybody does do. They are not specific enough to any impact. We don t know anything about the character from work or seed, no emotional response from those words. We want specific characters with specific actions that relate to that character. And dusk situation. No generics. When you use a more specific word, you give us character information as well as a more concrete image. If Blake's terms into the room, that gives us all kinds of information that work doesn't give us. We can assist Tom's infer that something is about to go down in that scene in our mind, easier than we can see what? Because it is more defined. More descriptive words like these are stronger word because they do many things at once. We get mood and altitude and character or story. They are probably 100 synonyms for work, each describing a distinctive type of ambulation. If it's Santa's in stressing starts his Strozzi matches in pieces in our bounces him. Not only does this give us is a specific type of work, but had to the action at character. Why removing body of our youth to work from your screen? If Max trots into the room and Jesse, I'm boost into the room, entry, the roof. But these are obviously not the same character. One word can tell us about a character. So if you have a plane world, why not use a character? Word is, this is where vocabulary is important. If you only know the world works, you might get yourself a sorrows and look at words that mean walks or whatever generic word you are trying to replace each of those synonyms, we have a distinctive meaning. You might want to get yourself a dictionary where you are at it. I have bought or my desk, but I also try to avoid using them on cross drought because you can get lost in all of those words. The general idea is to give action to the action of the character. Use the exact word or phrase that best describe the character's action. Gift character to that action with a descriptive, for instance, when it loops or does it loop? What is the attitude of value? She fixes him, she fires. Is Tony hi, Arabella OTA. Gaze on him is shoots Blake. A nasty loop is highest, become red. Eyes caught, issued him a look. She turns to see Kim starting down is direction when the character is searching for something very important, how does she says for each count for the key in a bag is highest fees on the book. It did down the park, fishing for the device. And so when the character takes some Odyssey, do that, she wrote out a struct. It removes, it, retrieves, She scoops hope. He ******** out. Games is gone, which trembling hand grips. She clutches. And so when the character walks out, does she do that? She craves past the handbooks done. This test is touched down the path. He hurries out, he walks away. You vanished into the room, erases down the hallway. She emerges from the inside. And so another way to engage descriptive is to fight it against using adverb to modify description, you must have heard of the danger of adverbs to your screenplay. That is very true. The use of many adverbs in your description is a laser kind of writing that mostly affects evocative narrative technique. Examples for better understanding. Joseph who's down the sidewalk as opposed to Joe walk slowly down the sidewalk. The workshop who is more descriptive than the phrase walk slowly? Also, the wallet software is more condensed because it takes only one word to paint the visual image. As against the world works that need another word, an advert to make it complete. This is a great way to achieve description economy as it only takes a single word to pop intended image. Some more examples. Blake slams the door as he charges out of the room, as opposed to Blake angry lists, lamps the door as he walks out of the room. Instead of saying that someone steadily walk, it is better to say that she meanders, creeps or loops. Instead of saying someone goes quickly, it is better to say that she rushes boat Horace out. Highs are racist, as you can see in this example, we use descriptive verbs as opposed to using adverb to modify the generic word. The right Where's beat out even the most descriptive adverb. Every time they evoke the visuals of a motion picture. Very well. The best way to remove adverts from your screenplay is to do a search for LY, for clarification, that's LY followed by a space, and then replace the verb adverb combination with a more descriptive that. Don't forget that your screenplay is written for this screen. If you can make a reader feel like they're watching a movie player right now in their mind heist as they read your script. That's a powerful thing. Your screenplay signals the word cinematic to producers or development executives that the scenes arranged in a systematic way. Asif, already produced and edited like a professional film or television episode. And that's always worth considering. Start applying this technique and you will be adding towards an Oscar award is currently the key to economic or writing is what choice? In first draft, I might use a half-dozen world to do the same job. A single word can do or use externals word or beat around the bush, instead of finding a direct route to what I'm trying to say, when ideas are coming off the top of your head, they can be messy and uncertainty. You may not want to get sidetracked by thinking about the right word while the other was flowing here. Sometimes you can become what blind and not know the best word to use. So you use a half dollars in orders that may harm to the same idea. But I make sure I come back to them in my rewrite and spend the brain time to figure out the best word to use. In each case, Y Rewriting, I tried to find the exact word that may mean several world, but imagine Ni, each sentence as a tweet with the intention that I have 140 characters to get my message across, I decide exactly what I want to say and figured out the briefest way to say it. Ask yourself, do I buy the idea behind this sentence into something that is both simple and also as debt and emotions. Word of warning to you. You don't want to use any of these code words that will require the radar to pull out, that tells us to look them up. You want to pull them into your story, not make them stop to figure out what the heck that word means. Avoid anything too cutesy or too confusing. You want words that are so strong enough to carry their own weight. Plus gives us character and attitude or storing information as well. If the word is only doing one thing, find a better world. If your character only walked, find a more interesting descriptive for that action. You've been taught to limit the use of generic world such as walk, run it, take and Luke and so hard in your description? Yes. But it doesn't mean they should be fun wanting where they are most useful entire screenplay. Remember, it's finding the best one world that best describe the action of the character in your discretion. Don't want to mess up your entire screenplay with flour, reward, and fancy vocabularies, all in the name of using descriptive to spice up these four vivid image. That is the problem with a lesson like this, the learners find it hard to balance all of the rules with discretion to learn more about this and many others like Kate, where we'll take a further look into balance and your new knowledge and your craft in the lesson caught problems troubleshooting. Okay, now let's dig a little further into evocative techniques professionals use to paint a visual image of the screenplay. 12. Descriptive Verb : Another way to use worst carefully in order to paint a picture in the reader's imagination is by using the action word of not living teas, or a descriptive word at Apache cooler to a sporting contest for human actions. It's defines the exact action being performed with just one word. It also describes how the action being performed literally looks like. It gives us the real sense of the impact and the intensity of the action, e.g. the use of the descriptive searches, rotate, racing, sink, crash, vibrate, scam, calculating, collapsing, pulsating, troop, poke, pop, remove, should switch animate. And so Hong, these are examples of the action words that are particular to a certain contents of inanimate objects, e.g. it caught him a nasty loop. We know that the action, of course belongs to the kitchen contexts or order contests where it organically belongs. In this example, the word code in the expression mixes sand phone to read, as stylized as it's describes the action of someone who secretly shoot a ridiculous gaze or the order. Also, the word shoots belongs to the Armed Forces context, and we find it across professional screenplays being used for different action. It's best describes the worksheet in this context means that the attitude of the action of shooting a gun or sharp and instant. Also in the student's troops out, the word troops in the sentence belong to the military, many IT group of shareholders. In this contest. It used to function as a descriptive verb as it is asserted to the action of a large group leaving one era for another at the same time. In shear removes from the crowd. The word removes means to take something away or off from the position occupied. It is used in this sentence to mean that she walks out or separate ourselves. This paint a clear picture of someone who works out of the group. She rotates around using our phone as a compass. The word rotate belongs to a circular object or to cause to turn or move about an axis or a center armature writing would rather say she walked around to find that way. The word rotate in this contest is made to describe how the actions of the character exactly look like. More examples, sinking, sinking to his knees, standards collapses onto his face, racing like a liar. She Claire's our way through the bush, crashing into obstacles. The action of sinking, collapsing, racing, crashing belongs to non-living things. We all know it's Titanic or something every against the water. Does scenes. Also, we recognize that the action of collapsing belongs to the building side. Then we know the word racing in the Olympic ground as we recognize the crushing of airplane from the sky. Yet they are Hall associated to human actions in order to paint a clear image of how the action exactly look like and the impact and intensity of the actions being performed in the mind of the readers. This is a strong use of descriptive verbs. You need to keep in your description. Screenwriting, asthma. 13. Figure of Speech One : Personification, bringing the inanimate to live true pacification. Now, it's time to go back in time and equip our creative tools that was handed to us back in the elementary school. There's rich off of speech. We only want to dust off some of those tools and take them for a spin in order to enhance our description writing styles. Now, what is passing application and how does it work within the screen writing craft, personification is the attribution of a personal nature or human characteristics to something non-human, or the representation of an abstract quality in human form. When it comes to enhancing the setting, the probes, one of the most effective figurative language techniques is that of personification or the human characteristics to an inanimate object. If done well, this can have a sense of movement and emotion to an otherwise sterile same. However, this should be used fairly across screenplay. If you always look for the opportunity to engage this technique, then it will become overused and lose its effect. This is a form of evocative writing idea that pronounces professional writing stars. I'm making it fun to read to see how this technique works, Let's start with few extracts from pro screenplays. It passes a field at the edge of which seat, a school box, a diamond engagement ring seats abandoned among the chaos glittering in the offline. Lusaka boss it in, in the field. In the examples above, the school bus, the soccer ball and the ring performs a human-like action. Seeds. This add an extra layer of effects to the barn inanimate prop discretion. Treating the prompts like living things is another example of pro use of personification. Spent beer bottles, crowd the coffee table, competing for space with a stack of DVDs. In this example, the phrase Paint beer bottles is used in place of the generic phrase empty bottles. This takes the cliche expression of filters it with something more descriptive as the worst paint, which only function as the action human perform when something is literally finished or having been used are no more replaces the word empty. In this case, the word spent an empty. I'm mature synonyms and semantically related. Also, instead of saying that MTB about two and a pile of DVDs are on the coffee table, which is a sure way. Someone will ask, just picked up a screenwriting cardiac would go for personification is then deployed on the sentence and refines it to sound melodramatic by inserting human actions, crowd, and compete within the discretion by personifying the prompts on the coffee table. This way, we've established the state and condition of the object as its triggers, the emotion with like readers to feel when they envision. The screenplay is another example. We'll cell phone rings. The screen says, ray. This is common to pro screenwriting is tied to always find a way to give an object in the discretion, the semantic meaning of the exact action is performed. In this example, the phone was given a voice because literal action is performed, is communicating the name of the color on each screen, which is a waste cell phone, is designed to express itself. And lastly, these two examples, it sees a single red high-heeled shoe abandoned in the corner. The Military pulls out a wicked looking knife. In the first example, the writer expresses this situation of the shoe with just one word abandoned, which oppose to immediately infer that the shoe has been lame, lonely in that corner. God knows how long without any hope of motion by giving the objects human emotion of being decided or left stranded. Fear, something for just ordinary still image description in the example two, also, by personifying the knife, which human traits we can look in, we immediately know the damaged capacity of the knife. Feel like this is not going to hand where for the target. The beauty of personification is that it can be used to elicit any feeling, to create whatever image to write our desires as the examples given so far show, personification is highly effective for infusing life into otherwise bland settings are probes by hiding human characteristics to human teens. They become familiar and relatable. Through this that link, writers are able to instill feelings into their settings. Starting read us on an emotional experience that will continue throughout the scene. That is the power of pacification, evoking emotion in a discretion that's just supposed to be. And this is one of the great ways to enhance the screenplay description, which evocative narrative style in order to captivates the reader's emotion from all angles of our description. We want them to see and feel something every time they read something in our description. And personification is one of the best ways to achieved that. As you can see, this is already going as planned. Or literary weapons are still very much efficient. Now, there's good news. We got more weapons done here, gunning for our attention in this case. In the next lesson, we'll equip the literary weapons called simile or metaphor, and learn how to best engage them in the discretion in order to achieve a stronger educative effect on our readers. See you there. 14. Figure of Speech Two: In the previous lesson, we dusted off our literary weapons and took one of them called personification for is P. We liked the impact and effect. We go from me it therefore, we want more light kit to fight our discretion screenwriting well, and that's what we're in this lesson to get the figurative devices, cost simile and metaphor, a pretty more powerful weapons in writing that we can ever imagine, especially screenwriting medium that costs for evocative kind of narratives. If simile and metaphor I used well, it's can be the reason. A whole sentence in the description looked like a movie is already playing in our head, the use of figurative expressions works brilliantly in activating the audience's imagination and adding texture and an extra layer of depth to the scene description. This results in ultimately improving the audiences of error Semantic experience, reading professional screenplays, figurative language can be found in action across the pages of the screenplays, though not recommended for a screenwriter who are still trying to get a hold of their craft. It can load them into writing. A bunch of other female who jumps in the description when it's over past them because it really does overpower on let the one that already has a stronghold of the aircraft can bend it to their will, but at its best, use, figurative language can really be a great visualizer. Screenwriters, one of the most common example of figurative language is the use of comparisons are the most popular comparisons or the simile and metaphor. The only difference between the two is that the simulator uses the word like. Whereas a metaphor does it. Instead States indefinitely plea that one thing is the order. A metaphor is combining two unrelated things that draw the reader in visually, emotionally, and psychologically. Metaphor frankly, state something as P. E.g. Live is a box of chocolates, is an example of a similarly inaction. Live is a box of chocolates, is a metaphor. Also, she's like a piece of mass, is assimilated. Why she's a mess is a metaphoric expression. Therefore, the following is a mix of the two. As human likely come across in screenplays, it devolves, is mean like a peak. It drowns in work pretending to browse the grocery. She asked one eye on him. She's staring at him like a hawk, not taking any chances. She's buried in hive of paper works. She's an angel. She's like an angel. Detective listens to hotels with a wooden phase. The detective listens like a news reporter. She shoot him an IC look, and so many others, depending on the situation or nature of the action being modified. Figuratively. Now you know the difference between simile or metaphor, it is time to take them both for his pin in the real pro screenplays and see for yourself what I'm talking about. Comparison can come in different variations depending on the writer's style of writing. By example, here is an extract from David Hemings since whiskey cover Lear plot screenplay from the size of his body and the size of his pistol. We know that this is his bodyguard, the writer in this expression and good metaphor by attribute in size to the generic nature of Buddy guys pyschology. We all know everybody got us to get something to show for it. The writer Dan, picked two traits of a body guard that is obvious in the character, which are size and his weapon to quickly create a visual image of the character in mind eyes. The metaphoric sentence also had to derive that to shorten what could our bin range of discretion of the character to one line of sentence. This is a very important demand of a screenplay discretion. Now, let's check out another example in another extract from David MACs, whiskey. Cabela's plots, screenplay. Both similes and metaphors are very helpful when you want to paint a mental picture of your setting, creating vivid imagery while also promoting what economy. In addition, the choice of metaphor can help to establish the mood for a given scene. As the following example shows, the elevator opens into a large room lined with American flags. This is the FBI headquarters at the US Embassy. The places a high-tech hive of activity. Swami with aging. Now, take a look at the same setting described with just a few words. The phrase, the place is a high-tech hive of activity. In this example, is a metaphoric expression which instead of listing every single detail of the atmosphere, have shorten it into one phrase that triggers a stronger image of what is really going down in the scene. The writer skillfully used the word, I take an HIV to modify the word activity in order to tell us that different kinds of cereals can put our works is happening and everyone is up to something techie. As we can hear that sound, we also likely to notice a big screen on the wall to protecting all sorts of infographics. Again, thanks to the best use of metaphor at work in the hand of a pro. Let's take a look at more examples from different screenplays. This time on land, the progress of how seemingly is used in screenplay discretion exam extracts from the ductile pilots screenplay written by David Shaw is soccer ball rows in front of him. Some turf year old kid yeah. For him to return it. It looks at it for a long time. Like it's trying to figure out how it works or how to address it. The sentence, it looks at it for a long time, like is trying to figure out how it works out to address it and get the use of Similarly when it compares the character's action to what it looks like in the characters reaction. This is a great way. Short create, cinematic picture are true. The screenplay and their discretion similarly is best put to use as it has in the character's facial expression and know is state of mind As well. Apparently, there are some significance to the character. If this description is written in a bland screenwriting way, the writer would have said, it looks at the Brock closely, which is correct, but only tells us it's not sticking a way its highest from the pole. Maybe it needs or likes the ball or something. But the comparison, the write-up make S horse to see the characters visceral reaction towards the ball. Finally, another similarly extract from short walk. Melinda, this is like a concert pianist at work is, and moving quickly and gracefully. We take in the blood, such as the exposed human heart, so vulnerable. In this description, the writer compares a concert pianist at work to the character's action in the scene. The character is in operation room doing what it does best. Then director uses the action common to a talented pianist at its best. In comparison, that best suits the characters and inaction in this scene. Here, without telling us the character is a great soldier. The figurative description then paint the crista picture of Husky, who the character is. And we can be able to see it clearly in our imagination. She swims like a shot, is Tom's after him like an elephant. These two example, these two similarly is a great example of figurative language artwork as we compare the action of the character to action of a shock in the post-war, we all know a shark is a primitive swimmer in the osha, and that is what it does every day of its life. Comparing action of that kind of creature to the character in the scene. We know she doesn't just ask to swim Yesterday. We can see clearly in mind heist that the character, a good swimmer, instead of expressing this discretion as streams beautifully, which will limit us from knowing the strength of our skew as a swimmer, using the comparison where hips, horse to see what kind of swimmer the character is really is in a snap of description. If we say she swims like a baby, then immediately fear for the character's life because she was soon gets trapped at the bottom of the pool and won't be able to get out. Similarly, saying that is Tom's after him like an elephant. In the second example immediately shows us the intensity of the, that cheese and the attitude behind it. We can see clearly that the characters chasing the order is dy. So like it's light depend on is this great, big chaos because we all know are the ground shakes when an Alphas Tom's up. With this kind of action description, we know that the person being chased is likely not getting away. You see, with these kids who use of similarly at the right time, we can be able to communicate our discretion evocatively with just a few words without the need to rant about the characters description, which Andres. The benefits of using metaphors and similes to describe settings and Carter's action are vast. Not only do these comparison create a mental image for the reader, they also provide important information about the setting and the characters. Ebit. This is one of the best evocative writing techniques you want to keep Andy or your way to Oscar. My best one to you is to use this literary devices fairly and carefully. Don't use them for the sake of using them. Don't abuse there. It can mess up your entire screenplay pretty fast. Each evocative techniques taught in this entire cost functions differently, but they all produce the same value, which is to create imagery, put them to use, and let them make your descriptions. Movie on the page. Okay? Thus hate about figurative language in screenwriting. And I'm sure you'd be filled to the brim with the tools and tips. You'd need to nail something great. Discretion, like a pro. Remember, fake it till you make it, Does the key. The next lesson, we'll learn about a very powerful imagery. Get discretion screenwriting. Ok, you've never heard of before. See you there. 15. Sneak Comment: Okay, In the previous lesson, we learned a great deal of figurative language as a kind of evocative screenwriting. This lesson, we're up to an alien kind of lesson. As we learn a secret screenwriting heart directly from the proof to bogs. What the F is a snake comment. I bet you've never heard of that before. Well, to lighten up your curiosity, I just made that up. Though. It's not a joke as it has a potential to Tojo screenplay into a cinema hall map. It's an extra comment that the writer that into its description in order to further clarify the intended image of the action being performed. It's one of the evocative writing tricks I acquired in my quest, or true great screenplays. And it feels great to share it with you so that you can include it in your description, screenwriting, asthma. The snake comment is a kind of evocative writing style that pro, screenwriters used to accomplish the description of the character's expression. It's the form of screenwriting star that allows the writer to cheap in an extra layer of visual discretion to the character's actions and reactions in the scene. Instead of stating the literal expression on the character's face, a comment describe the action of that expression, lit internally. When a certain action is performed in order to visually define the internal feelings or altitude. But I added an extra comment is made to balance it or sneak in. The technique. Just sneak in technique means the comment is inserted without readout noticing. Assistance is simply invisible, performing its job as steadily as possible without ranting of being loud, because it's language condensed and it's not important image in the head of the redox, instead of the reader noticing it as a mere text on the page that probably won't make it to the screen. They see the altitude on the character's face or hear it in the character's mind. After reading. This is why the comments asked to operate silently with a few words so that the readers will not have a wrong impression of it as a chunk of irrelevant. It is the best way pro screenwriters keeping least showed the Internet all of the character and their viscera expressions without literally telling me. This form of writing is one of the screenwriters secretes techniques that pronounces Their Rising Stars. And the technique is what most aspiring screenwriters come across in the pro screenplay that got them thinking he ever write as creative as this. I'll be glad, e.g. in this extract from David Shaw, the writer of the Good Dr. Kristin, shakes ahead, knows where this is going. In this example, the phrase knows where this is going is this snake comment that instantly tells us the altitude behind shaking ahead. If the character shakes her head without any command to balance it off, how then do we visually node the Internet attitude towards the gesture of shaking of the head, embarrassing. As a screenwriter, insert a quick comment that tells us what is going on in the character's head at that is that again, let's take a look at another example of a snake comment. The TSA personnel loop to each other. This isn't the type of situation. The airport. In this example, the statement, this isn't the type of situation they are taught, is a comment inserted to help us get into the character's eight. Find out the attitude behind the sharing of that Gacy's. The actions were written ordinarily without the comments, then it would have been the TSA personnel look at each other, confused. We can see all this writing technique as in seeing the Internet tort of the characters visually as it's defined, the psychology behind the reactions of the characters loop to each other, which means they are confused. I'm clueless of what's going on. In this description. They sneak comments, achieves three main things. First, in knowing the emotion behind the characters reaction in this thing. Secondly, it helps in describing the action of the characters without the need to write it. Ways of, of Novell. Thirdly, it's great. The visual image of the character's facial expressions in our mind. You see the power of this technique. Thus the snake comment in action. If Kraft, well, it becomes invincible in the description. Popping only visual image of what's going on in the scene. More examples like it, and I'll tell you where the sneak comments is playing in the Jesse leaves leaving the light on, Jared can't believe it. I can't believe it is a comment in that reaction discretion. It tries to cover, just not happy with the way that Just wait. In the second example, the whole line is the snake comment about the character spelling and his attitude towards what just happened. Indices the agents peaks to the Keeler who loves the agent glances towards Suzanne as if to say what now? The expression as if to say what now is the comment in the discretion? Is it that it creates forward to confirm? Is it that performs the snake comments row in this description, lake pops out a ring and shrink to his needs. Jesse shoots him. What a hair kind of what kind of Luke is the comment in this discretion, the IRR rule of this screenwriting hack is to insert an invincible expression in the actions and reactions of the characters in the scene. Only where necessary. You have to be aware that not every action the character perform with cough or an extra column. It just be careful or you put them to use so that you don't muddle up your discretion with weird stuff. Don't draw the don't drown the readout with details. They don't need details should function either as plot devices or to create a sense of tone, mood. The addict don't describe a C Corp unless it has poison in. It applies here. As applicative as it is, just like figurative devices make comments can be dangerous for aspiring writer. As it can treat them into breaking the rules of visual narration, telling irrelevant details that isn't meant for the screen. Do I have come across the use of this style in many professional screenplays and it doesn't break any rules. And I have also employ them in most of my screenplays as well. This is a great tool that can come in handy if one can get a grip of it and use it, right? Congratulations. As you being fully equipped with the tools you need to craft evocative description in your screenplay. You use them, right? Well, there is a sure way to Oscar if you're near or the evocative description asks given so far in this course, it's time. You call yourself a PRO, though. It's only aphasia when your screenplay is finally chosen for the big screen production. Wishing you good luck. 16. Hidden Description : In this lesson, you will learn a great deal of another writing technique called eating or encoded discretion. This is the form that have you describe the situation of a scene without littering the entire block, which details its job is to shorten the clip long range of expressions into one single sentence that paint other images of the scene or situation in the reader's imagination. Its main goal is to help you fight the right as natural tendency to be verbose, screenwriting is distilled. Writing, using the fewest number of words to create the greatest possible impact. Economy car writing is probably the most important part of our job and the most difficult part. The trick is to choose those evocative words that imply other words, wet, which can not only carry their own weight, but are strong enough to carry entire ideas and all images. If there's an art to screenwriting, it's knowing how to pick strong word, e.g. there are times when you need to describe the characters living room, where a scene is taking place, the trick is not to bore the reader by completely describing the entire living room. Instead, find the one or maybe two details which give us a clue to the rest and let the readers imagination fill in the rest. Derrida, we imagine a sofa, some chairs, it TV, or most of the details. We don't have to mention them. They have seen a living room before. They probably have one in their home. How job isn't to give every points less detail of the location, but give the best data which will allow the production designer, I said decorator, and all of the other crew members to do their jobs. At the same time, we want to spark the imagination so that the reader can imagine what the room looked like when a reader comes to a patch of still life description that goes on and on, they're not always keep it. They begin skimming or skipping all of the other description, action. And that is what tells the story. Finding the most succinct way to create the image of Blake's who live in rural, in the mind of the reader in as few words as possible is the skew we need to develop. So the first step is to remember you aren't describing things. You are describing things happening. When we use a word to paint pictures. We were painting still lives. You don't have to describe everything upfront. You can sneak them in discretion later through actions as the characters interact with their space in the scene. Now let's start with these two examples. Interior obliques, living room, picks up boxes and empty beer cans, liter the floor, interior max living room. D, inverse of fresh caught floss anecdotally on the baby grand piano in the first example of the Blake's apartment, deleted flow we already see in the description. We immediately whisper, how's the couch goes and picks up the breeze or needs. I am sure if you enter blacks living room right now, you'd definitely step on the half dread BSP on the floor to the discretion also suggests that if the pigs up boxes, not even one, and empty beer cans can be left plane on the floor like that. God knows our loan, then Blake's bedroom is in safe either including is close it. If he has one, if we then take a peek into his restroom, then we'd likely find some Gordon water in the water closet and some other clues to. Now, let's slightly open is kitchen door. What order do we forced passive and a little p far ahead isn't going to be cool as well. Thus, the power of words, right there, you see those details we just asked could have messed up our entire description with some black stores. Instead, it was creatively eating in just few weird. With this description alone, we not only get to know something about the owner of the apartment, but also few clues to what might be going on in his head. Now let's look at max so far. Does it look anything like Blake's imagined Blake's carpet. Compare it with Max carpet? Or did you imagine Mark? Mark as ad would floss and passion rocks? If we were to look in Max kitchen and bedroom, what would we see? Again? An f2 of words are used to paint a picture. Decay is to carefully choose a data which implies order details to find an example of metaphor which sums up the entire occasion. That way you can describe the war room in one short sentence. Notice that this gives us clues. Character as well. These are two very different living rooms and two very different people. When you are writing a screenplay, you will be using fewer words to describe a location than in novelist. We use that there just isn't the space. That means every single word matters more. And this is why vocabulary is important. Finding the best. What is the difference between a great discretion and a terrible one? But even if you are writing a novel or short story, this technique, we help you clean up your descriptions. The key is not to infuse the discretion into simple statement like sat down, but to use fewer words but better word. So that short sentence really paint a full picture from that single sentence about the living room. We can imagine the kitchen and a bedroom as well. Plus Tell us about the characters. Finding the one or maybe two, the two that gives us an entire image. And it will allow us to imagine what is off-screen because details are important even if you are asked to strip them of your discretion is another example of eating discretion because the element of the screenplay is an action rather than description, the best way to describe a location is true action instead of important static image, give the reader some action and sneak in a little discretion along the way. The best place to hide the discretion is within actual nobody notices that discretion because things are happening interior Blake's living room. Did Blake brushes away or picks up boxing gloves down on the sofa? Interior, apartment kitchen, continuous. Mark opens the fridge. It's cramped with covert tissues. The reader is focusing on bleak and doesn't even notice used leap in the discretion of the living room. No static writing notes to live view, economy car rides in which manages to do three things. At the same time, shortens up me, describe the location and illuminates character. We've only added two words from this still live details, Pixar and so far. But the action actually make it seem like fewer world things are happening. Blake is doing something, but we can still imagine the rest of Blake's living room. And probably even better idea of what Blake sofa may look like. Those peaks up boxes on the sofa, cause the reader to imagine just how fealty that so far might be. What do you imagine the rest of the living room to look like? We left out the beer cans in the discretion. But what this to there when you imagine the living room, was the kitchen sink full of debt dishes. When you take a proper gaze at the kitchen, be verb. We want to use sentences that include if an action, you have a sentence without a verb, without any anything moving, ask yourself, why is there a legitimate reason for that debt? Sentence? Yes, there is a each **** suspends technique that uses tuners to tell the story. That is the reason why your sentence, us know verb has no action and no movement. That's okay. But if the lack of oxygen serves, no story propose, rewrite that same things. I'm making it better. So now what Nest? 17. Pacing : So far we've been engaged in exploring different comma issues found in screenplay descriptions of non established screenwriters. In this lesson, we are going to take a new drift into a special kind of issue affecting the cinematic read of the screenplay. Now let's take a look at the issue of pacing within the screenplay description. This is seriously underrated in screenwriting where p is discrete, have great radio. They don't linger too long on Mermaid. Don't go on tag names with scenes that have little or nothing to do with the plot of the story. Webpage scripts don't waste any time what page or sequence everything on each piece of the single purpose of moving the story and characterizations forward. It's a quick and easy read. Any good screenwriter can write a whole page describing a room. You can be articulate by describing the side, the sound, atmosphere, the wax poetic about each and every one of those details. There's no room in a screenplay for that. If you delete those elements from your scene description, you'll be well on your way to mastering compressed imagery writing. Well, not the comma and 90s among readers is black stove screenplays where there is a whole page of dense description. No one wants to read an over long screenplay, let alone one that's filled with pages of solid black. When a reader sees a screenplay that's full of huge blocks of tests and long paragraphs of dialogue. The heart sinks as they know that it's going to take a very long time to read it. Understand that readers, producers, and directors have to get through many screenplays in a day or week. The longer it takes to read a script, fewer scripts they are going to get through. And that's about the more whitespace you can create on the page, the faster the rate will be. An easy technique for getting rid of dense black stuff is to remember the fall line rule. Try to avoid having paragraphs of scene description and in longer than four lines. Otherwise, you run the risk of the readers skim reading over important information. No passage of action should last longer than four lines or three lines. Then put in a space, a blank line. If you have a big action scene which lasts the pH or more, dan, break it up with spaces every four lines, put in a blank line. This instantly add more white stuff to your script. It proud graph in a screenplay is all one piece of the action, one unit of the action. Sometimes a line of discretion is like a shot in the film. And two or three shots create a single piece of action. It a paragraph. It's a paragraph. So skip a line and get to the next piece of action. You have to think of it this way. Each block of scene description is a visual you are trying to convey. And you need to convey as quickly as possible for the reader to be able to see it through their mind highs, one of the phrases you will hear from readers and development executives is vertical read. Instead of having to read the screenplay from left to right, 457 Lines, they'd rather read something that draws the highest down the page, mimicking the wave speed from the top row, true the projector to the bottom row. So anything you can do to draw the highest down the pH is applause. Write a single sentence. Action Blocks, add a sense of urgency to what is happening and gives the reader the feeling of speed. These are racing towards whatever that last word is. As you are writing, you need to interpret each block of sin discretion as a visual that you are throwing at there. This is what I want you to see. Now you see this. Now see this up. A bit to eat when you have long paragraphs of sin discretion, the reader's brain registers it differently. This part, it's saying the same thing. Even when we put those three short sentences into one block of discretion, the reading changes. This is what I want you to see. Now. You see this now disciplined, same information, but when muddled up together, it reads differently. But when whitespace is utilized to differentiate each image that you're throwing a term, as is the case in the first example, you feel a reading that flows your mind. Just read that second example as more of a garbled sentence than a series of flowing beat, your mind was forced to slow down, if not for a brief moment, to make sure that it was processing the word correctly. Take this example, a stereo for us tonight. The code hair causes Blake to Shiva as he stumbles through the trees. Mass body comes into view. The stars are visible in the night sky. Blake pulls out a thought from its trouser pocket, it clicks it all. The red light flashes on and off. Slowly. Eliminated max fees. Blake, ps are the dead cop. Blake fishes something as out of his pocket, the auditor to the torchlight, a marble run, a small red flashes from the toast light pass through Lake studies. It's like it was a dual. Cradles it in the palm of his hand, his body still shivering from the code. Blake homes is soft tune to himself. Huge blocks of tests can be daunting and time-consuming. Big paragraphs like this can also indicate that the writer is over describing and Devin into novelistic writing. Although there's some nice scene setting description here that sets the tone and atmosphere. Although there's some nice scene setting discretion here that set the tone. An atmosphere is every word absolutely necessary to help break things. Hope I'm poor, focus on the important information. Try to think of each new short on the screen. We're onto a new line on the page, as in the following example, Exterior forest night, Blake shivering is tumbles through trees, Max body stars in the night sky. Blake pulls out a torch, it clicks on the red light, slowly pauses, illuminating max fees, Blake peers or the dead cop, Blake fishes something or as hauled up in Mabou, toast light passes through it. Blake studies, it's like it was a Jew. He created it in the palm of his hand. Still shivering. Blake arms is soft tone to him, so that's 78 word against one another. Mating word counts from the tight version with the possibility of condensing it more or dough, it may take up more space on the page. It's clearer, it's cleaner, easier to digest, and overall more visually effective. Another example, interior prison cell block, that dark hallway made entirely of stone, stretches into a black void. The dripping of water is hard as condensation escaped from in-between the stones and into multiple models. On the wet floor. The only light source come from this cell block windows, the beams of the moon sneaking in-between the rows, the bed that keep prisoners from that dreams of freedom. It's actually not that bad. Two sentences for the first scene description paragraph, some whitespace. Then one longest sentence of scene description, but they can look at this next version of the same scene. Dark, wet shadows overcome any source of light. Short, sweet to the point. And now you are ready to go on to the mask. If you find that your screenplays of big blocks of ink, whenever there is scene description, you're overwriting your scraped. Keep in mind that these are simple fragment. When you apply this lesson to actress create pages and the scene description within, you quickly see how important whitespace really. It's great that screenwriting reading that gives a script that good read for you to eat. The idea here is not having enough description it to clip those discretion and still maintain the same information we are trying to convey to the reader. Those trip things back to the point where it sounds like we are reading a series of stage directions of leaving big gaps of information that would confuse the reader. The general idea of Bayesian within the screenplay description is to cut to the chase without any form of unnecessary ran. The questions you may want to ask yourself. Does my script comply with it? Lesson small mantra, doesn't waste no time with unnecessary storyline. Does your script to read quickly and easily? And now that we are good with this, it's time to dig a little further into the heart of compelling description crafting in screenplay. See you in the next lesson. 18. Project Two: Welcome again. It's time to take your new knowledge. If I spin one small. So far you've been taught intensively about autographed evocative writing star in this course. Therefore, you are required to craft before and after of different descriptions of random seen as structs from your screenplay and apply the evocative writing that leaks you've acquired so far for this course. But there, then you are to screenshot and upload them in the project section of this course. As a critic, God, constructive criticism, shabby, a gauge to give you feedback on. Deb noted that if you don't have a screenplay yet, then you should grab two different screenplay descriptions of randomSeed and deployed the evocative techniques on debt. Are you ready? Let's begin.