From By Ken Levine:
When reading a spec, one of the most common traps I see young writers falling into is overwriting.
First thing I do when receiving a spec check its length. If I get a hernia lifting it, that’s not good. A comedy screenplay should be no more than 120 pages and that’s stretching it. Sitcoms vary depending on the rhythm and format of the show. But if you write a spec COUGAR TOWN and it’s 50 pages, I can tell you sight unseen it’s waaaay too long. HOT IN CLEVELAND scripts (multi-camera) generally topped out in the low 40’s. When I was consulting on WINGS we had a writer who routinely turned in 65 page drafts. His rationale was that he gave us choices. We could whittle it down to the best 42 pages. Fine and dandy except THAT’S HIS JOB!!! If you can’t tell your story in the allotted time then maybe you’re not telling the story right. Or there’s too much story and that has to be addressed.
The only thing worse than a TV script or screenplay that’s overwritten is a stage play. Plays have no length requirement so the playwright has free reign to torture us long into next month. When a two character piece about what to pack for a vacation is longer than NICHOLAS NICKLEBY that should be a clue.
And then there’s the dialogue.
This may sound obvious but worth stating anyway: Always remember that actors have to perform your script.
Soooo many times I’ll see full page speeches with sentences so long and complicated that no human being on earth could ever deliver them. And certainly not in one breath. Read your script out loud. If you need CPR by the end of a speech, rethink. Dialogue has to sound natural, conversational. And rarely do we speak in big whoppin’ speeches.
When writing a TV spec, writers often go overboard on character quirks. They’ll hear Sheldo utter something a little technical and think that every word out of his mouth has to be quantum theory. In fairness, shows themselves get caught up in that trap. On MASH the tendency to give every line a spin evolved into absurdity. In a later season (after I had left the series) Potter once said to Klinger, “It was curiosity that KO’d the feline.” WTF?? Who would ever say that? And why?
There is a tendency to want to impress by working in all kinds of complex themes and philosophies – show how you’re the next Paddy Chayefsky. In truth, it’s your inexperience not intellect that’s being put on display. If long intricate theories and complicated Byzantine ideas are your cup of tea, write a book.
More often than not these long speeches have characters express in detail their emotions and attitudes. Not only is it taxing to listen to this balloon juice it also gives the actor nothing to play. Might as well go on to the next scene. Sometimes a look or a gesture can say volumes more a two page speech that James Joyce would find too convoluted.
Whenever my partner, David and I go back to polish a draft we thin out the big speeches. If the speech is 14 lines we make it 11, if it’s 11 lines we make it 9. There are ALWAYS trims.
Same is true in stage direction. A reader sees a big block of stage direction I GUARANTEE he will not read it. You could describe a sex act in detail and he’ll flip the page.
As a rule it’s better to underwrite than overwrite. We have an expression. We like “open pages”. Much more white than type. This may sound obvious too but: You don’t get paid by the word.
Writer/blogger Earl Pomerantz contends you could always lose page 8. He’s usually right.
So go back through your script. I bet you could lose two pages. Page 8 and one other.
As always, very best of luck.