[spb_column width="1/1" el_position="first last"] [spb_text_block pb_margin_bottom="no" pb_border_bottom="no" width="1/1" el_position="first last"]   By, Jacob Krueger [/spb_text_block] [/spb_column] [divider type="standard" text="Go to top" full_width="no" width="1/1" el_position="first last"] [fullwidth_text alt_background="none" width="1/1" el_position="first last"] The Craft of Screenwriting: See, Hear and Feel Everything   In last week’s podcast, we discussed the many differences between playwriting and screenwriting. So this week we’re going to be getting deeper into the craft of screenwriting: what it takes to write a script that succeeds on the page.   As we discussed last week, writing a screenplay often takes more rewriting time than writing a play.   And a big reason is that while most of a play exists in dialogue and develops over rehearsals and workshops, successful screenplays must exist in a far more more finished form on the page.   Technically, so much of rewriting for playwrights takes place during production in the rehearsal process. Whereas most of rewriting a screenplay is going to take place before your movie is even sold or greenlit.   And unlike literary managers at theatres, who are often MFA or PhD graduates with a love of literature, degrees in theatre and a deep understanding of how plays funcion on the page, most screenplays are read by coverage readers, or interns, who not only often have no training at all in how to read a screenplay, but at best are probably skimming your work for $50 bucks a script.   Which means that to succeed as a screenwriter, you must do more than create a blueprint for success. You must in fact create a screenplay that fully demonstrates the experience of your movie for even the least trained reader-- that transports them from reading to seeing, and plays effortlessly in the little movie screen in their mind, so that they can see, feel and hear everything, just like if they were watching the film.   So that is just something you need to accept; in order to bring your screenplay to that level you are going to need to do more rewrites.       The good news is that the same rigor that you must bring to your craft in order to have commercial success as a screenwriter will also build you creatively as an artist.   In order for your reader to see, hear and feel everything, you are going to have to see, hear and feel everything yourself!   That means developing both your art and your craft as a screenwriter. First learning to step into each character and fully visualize each scene as an artist, and then developing the craft you need to translate what you see, hear and feel into a form that others can easily understand.   There is a different balance that all writers need to strike, about how slowly you’re going to work through your script, or how quickly, how much time you’re going to spend writing and how much rewriting.   Last week we discussed the example of a line of screenplay action like “Mary is writing… ”   We discussed how that might seem like proper screenplay action, but in fact, is not. Because it reveals nothing about Mary’s character, or what we’re actually seeing on the screen.   Rather than forcing us to get creative as screenwriters, a line like “Mary is writing” lets us of the hook creatively, and instead asks our reader to do our job- the creative act of making it look cool in their own head-- a creative act that they are little prepared to do.   For screenplay action to function properly, you have to capture it in a way that allows the reader to visualize it instantly in the movie screen in their mind, and tell themselves the story of your movie, your character, your character’s journey.     As we discussed last week, you might see “Mary’s cracked fingernails click the keyboard.” Or you might see “Mary’s bejeweled hand signs a letter with a gol...