# Script writing, Notes from a lecture.



## Olly Buckle (Jul 14, 2016)

This is from notes I took during a lecture on script writing from Simon Nelson of the BBC Writers’ room. Although he was specifically dealing with script writing a lot of the points he made are valid more generally and worth consideration for writers of all sorts of fiction. 
This is from my notes, it probably does not reflect his words exactly, I hope I have his sense.

Clarity
Write in genre; is this a script for Television, Radio, or Stage? Having said this, the story comes first, decide on the story, then which genre fits it, don’t force your story into the wrong genre simply because you wish to write for a particular medium.
Say what you mean, be clear; don’t think ‘Allusions are artistic, anyone with sense will get my drift’, they may well not, assume they will not and state things clearly.
Only write what an actor can show: if you feel there must be a back story or technical directions to get your point cross you are failing in your primary task which should be to express these things in dialogue. Actors interpret dialogue, that is their job, do not ask them to provide something that is not in the script; directors direct, that is their job, they probably do it better than you, and may resent it if you tell them how to do it.

Get the story going
Know the story and write to it, don’t go changing horses in mid-stream because you have what you think is a better idea, that is a different script, to be written separately. When you know your story, then you can be bold with it and hit the ground running, it will take the average TV viewer only seconds to decide whether to change channels, get straight into the story. Starting with action may work, that depends on the story, don’t work in something artificially at the start to grab them, start at page one; page one of the plot.

Coherence
The whole should be more than the sum of the parts, be aware of what you are trying to say with your writing; what the overall message you are getting across is. Hopefully this will stop you being distracted from the story. Remember who and what you are writing for, it is no use writing an epic for a channel that presents programmes in half hour slots. Stick to a single genre and tone throughout; starting with a focussed way into the story. Keep your message simple so that you remain in touch with it throughout, it will stop you from trying to do too much and achieving nothing by losing your audience along the way; beware of distractions and diversions.

Character
Characters should be strongly portrayed, emotional and compelling, People should want to spend time with them, to understand them, and see the world from their point of view. That does not mean they cannot be weak people or their point of view is necessarily a desirable one. Your characters are on an active journey through the story and should show their desires and needs, obstacles and dilemmas to keep them distinctive and avoid one dimensional and cliché characters.

Emotion
Don’t go for the big idea first and make the characters fit around it, find your characters and fit them around your idea. This helps keep your characters believable, real characters live in a real world, the world does not adjust to suit them. A story without an emotional content is like junk food, most unsatisfying, the characters and their reaction to the story should be bigger than the concepts behind it. Remember people are not invincible, they are vulnerable and have physical reactions to things; I expect you can think of an action based example where the hero is there to fulfil a function, and he will be largely one dimensional and unsatisfying.

Surprise
Using archetypes can be very predictable, but putting them in an original perspective, keeping them fresh and original, makes the familiar interesting. Explore your own idiosyncrasies, ask yourself ‘what is different about my version ?’ Stay in character, and anticipate the audience’s expectation to surprise them, but be careful not to ‘jump the shark’. That is present a completely artificial gimmick, not part of the story, aimed purely at holding the audience’s interest and entertaining. The phrase is from an episode of ‘Happy days’, google will show you it.


Structure
A story should have structure, much as the structure of a good building reveals and reflects its purpose a good story must be going somewhere, it has a beginning and a conclusion, and the elements within it all have some dramatic purpose. One would not tack a cafe onto a cathedral, both satisfy appetites, but they are of different sorts and don’t mix. A good building and a good story both have a unified purpose built into every part of their structure.

Exposition and expression
Good dialogue primarily reveals your characters, this is more important than structure, it makes the characters ‘real’ to people.
Bad dialogue merely relates information. Whilst it is necessary to carry the story line forward bear in mind that real people do not tell each other things they already know, and when they do impart information they do it their way, using their sort of words and seeing it from their point of view, the characters dominate the storyline, not the other way round.

That was Mr Nelson, this is me.

Writing is a balancing act, all good writing contains elements of fire and gusto, but the gusto must be part of the story and the fire come from the presentation. Do not include the incongruous for effect, the effect will not be good.

Writer’s room is the first stop for new writers submitting to the BBC, their website is a good resource, with advice on submissions as well as writing.


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## Plasticweld (Jul 14, 2016)

Thanks for sharing, this is a great check list for any story teller!


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## escorial (Jul 17, 2016)

are these your interpretations of the lectures theme or are they combined with your pov on the lecture...


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## Olly Buckle (Jul 17, 2016)

It is what I wrote up  from the notes I took during the lecture, so I guess the former, except for the last few lines. I spoke to Mr Nelson afterwards and told him I intended writing it up, he was happy with that, then tried sending him a copy, but I can't find where to send it.


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## Eric Romano (Oct 17, 2016)

Nice tips.
But I have a doubt about the "Know the story" point.
What if you encounter an exciting twist for a character and would want to introduce it midway? I mean the audience doesn't know the story until they see it right?
For example in FRIENDS, Joey and Monica were meant to end up together but it didn't happen that way and of course, the audience loved it.


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