Screenwriters, Forget About the Camera

As screenwriters, we are constantly told to "think in film," to imagine our scenes unfolding in our minds as if they are being played out on the big screen. To contradict that sagely advice, we're also told not to use camera angles or shot descriptions. So where does one find the delicate balance between thinking in film and not writing those mental scenes as camera directions?

Here's the hard truth: Forget about the camera.

I can hear the outraged gasps already, but this approach will save you from countless rejections. The cold hard truth of the matter is once your script is in the hands of the director, the producers, and the director of photography, any camera angles or shots you described in the script have gone right out the window. Those in charge of making the film will be in control of those factors, so unless you're planning to make the film yourself, skip the camera directions and focus on finding other ways to convey the same level and depth of imagery.

How? It's actually much simpler than it seems. For example, if you are writing a script about a burglary and would like to begin the scene with the image of the burglar's gloved hand, you have two choices: to use camera directions or not to use them. Always opt for the latter.

An example of how not to write the scene:

Did you recognize the mistakes in the above excerpt? As a screenwriter, the terms "close-up" and "pull back" should never appear in your screenplay. Instead, convey the same imagery without the camera directions:

Voila! Same imagery, no camera directions.

Another example of how not to write a scene:

What does a slow pan have to do with the story? Absolutely nothing. Remember, it's the story you're concerned with, not the filming of the story. If it isn't integral to the storyline, remove it, and if it truly is integral to the storyline, find a way to weave the words without referring to camera directions.

As a general rule, the easiest way to convert your script to spec-friendly format is to eliminate any and all camera-related terminology that falls between FADE IN and FADE OUT" Delete the CUT TOs, get rid of the CLOSE UPs and remove the PANs. Avoid using anything other than the required sluglines.

Another problem to avoid is the infamous WE SEE or WE HEAR. You've all seen it before. Some of you may even have tried the technique in your own scripts. It goes something like this:

There are obvious problems in the example above. First, ditch the "we see" and "we hear." We're supposed to be part of the story, right there in the middle of the drama and action while it's going down. By addressing us with "we see," you're inadvertently reminding us we aren't truly knee-deep in action or living the drama, we're sitting outside of it reading a script. You'll also notice the use of the word "screen", more film talk that doesn't belong in your script. Instead, try this approach:

Same visual imagery without the intrusive "we see" and "we hear," and with that distracting film terminology — the word "screen" — nicely removed.

Direct your film by writing in the visual style of shots and camera directions, without referring to the shots and camera directions themselves. For a more detailed explanation of how to "direct" your script by writing your action in a style that automatically flows from shot to shot, check out the previous article titled White Space.

Standard disclaimer: Please note, the web browser display does not allow for the presentation of a screenplay in its correct format. Excerpts and examples of screenplays found in these articles should not be used as examples of proper screenplay format. To learn how to properly format your screenplay, David Trottier's The Screenwriter's Bible: A Complete Guide to Writing, Formatting, and Selling Your Script is an excellent reference.

© Kris Cramer. All rights reserved.
Reprinted here with the author's permission.

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