The biggest difference between a screenplay and a manuscript
is that a screenplay isn’t intended to be a finished product anymore than an
orchestra score is meant to be read over the radio. Manuscripts – aka unpublished novels – are
the complete deal. Sure, you might be
reading a rough draft, but that’s the same as watching the first cut of a film,
not reading the script.
What’s the same between the two is all the hard stuff:
story, character separation, flow, objectives and obstacles, etc. As a filmmaker, you should be as well-versed
on these issues as a novelist. This
primer is intended to help you with issues that are more important to the
novelist than the filmmaker.
So, here we go:
Point of View is important in both disciplines, but the
rules are stricter, and harder to adhere to, for the author. Writer’s can move in and out of character’s
thoughts, feelings, etc. Often, that’s a
good thing, but not if the narrator’s point of view is established
otherwise. The most common points of
view are:
FIRST PERSON: The narrator is a character in the story. In these cases, you can help your author
friends most by making sure there is a plausible way for the narrator to
experience everything that’s in the book.
You’ll find yourself saying, “how did s/he know that?” or “I don’t buy
that s/he would be there.” Also keep on
the lookout for characters telling the narrator a bunch of stuff. Just like a movie, an author must show, not
tell. But the hardest part of first
person are other characters’ feelings.
The narrator can’t know for certain how other people feel. He or she is like the camera in a movie. They can only tell us what they see or hear.
LIMITED THIRD PERSON: The narrator is not a character in the
story, but is tightly glued to one – or sometimes two – characters. Like first person, every aspect of the story
must be experienced by these characters.
Harry Potter is a good example.
Nothing happens in those books that Harry doesn’t do, observe, or hear
about. This is often the point of view of
films as well, but movies have a long history of playing fast and loose with
the convention. It’s normal in a movie
to introduce story elements away from the view of the hero – which is one
reason you’ll hear authors grumble about movies. That’s cheating!
Omniscient THIRD PERSON: In this convention, the narrator knows and
sees all. They can jump in and out of
the heads of anyone, so the reader often knows more of what’s happening than
the characters. In a manuscript in this
style, it’s easy to lose focus, so make sure you are always aware of where you
are and what’s happening.
Together with point of view, is tense. Films are all written in present tense
because the audience/reader sees what’s happening as it happens. Novels are often written in past tense. Being a non-novelist beta reader, you won’t
be expected to catch subtle differences in tense, but if something feels wrong,
look to the verbs.
Speaking of verbs, it’s important for the author to use as
many active, action verbs as possible. If
the words just lay on the page, look for boring “to be” verbs. Chances are you’ll help them flush out
passive voice.
Word choices are to novels what edits are to movies. In film, a scene might lag because the editor
isn’t cutting on motion, or has left in too many footsteps. In a novel, the author might be using too
many words to get to the point. If
that’s the case, look for adverbs – you know, the ones that end in “-ly”. They can almost always be cut.
Echoes and repetitive phrases are the novelist's nightmare. Echoes are words that get in the writer's fingers and repeat themselves in close proximity. If you find the same words popping up over and over, point them out. You'll be thanked for it.
Repetitive phrases have a lullaby effect, and they tend to
hang out around dialogue. Look out for: "...she
said, as she ___________ ,"and "...he said, _________ing his
head." If you find yourself rocking
like an old Southern on the porch to the predictable rhythms, then you should
make a note of it.
Margin notes help authors as much as screenwrights. Just a quick word or two about what you're
thinking or feeling right at that moment on the page.
Volumes have been written on what makes a good novel, but since
a manuscript is intended to be a finished work, you don't need any special
training to say how you feel about the story, characters, flow, etc. The ultimate question is, does the story move
you? If so, great. If not – some of these simple notes may help
you understand why, and help your friends fix the problems.
