Sort By Alphabet

all - 0 - 1 - 2 - 3 - 4 - 5 - 6 - 7 - 8 - 9 -
A - B - C - D - E - F - G - H - I - J - K - L - M - N - O - P - Q - R - S - T - U - V - W - X - Y - Z -

Word Choice Wisdom




Dialogue comes from the character, but action comes from you, and the words you choose to describe that action have everything to do with developing your own unique voice, but until you become the master mechanic of that secret recipe, you must rely on your character.

Say, for example, your character is a drug addict. Since there are many kinds of personalities, buying different kinds of drugs, at different socio-economic levels, and in different social groups, it just makes sense that the specific drug jargon used by a thug on the streets of the Bronx would be quite different from that of a privileged Hollywood socialite. If it’s cocaine they’re after, what do they call it: coke, candy, blow, flake, dust, powder, snow, sugar, etc?

These details are important because the generic noun – in this case “drugs” – is too vague, and even the more specific noun “cocaine” is not good enough when describing it within it’s distinct world. Instead of just writing “cocaine” time and time again, figure out which noun is specific to your character. If your street thug’s word of choice is “blow” or “candy”, then embrace that and use it while describing it in the action as well.

But don’t stop there. What about the dealer? What’s that dealer’s self-proclaimed professional image? Would he call himself a supplier, a distributor, or an import/exporter? Or if your character is an assassin, does she see herself as a merchant of death, a murder mechanic, or a facilitator of fatalities? You get the idea – these are concrete descriptive words, that when chosen wisely can make a world of difference in your script – both with action and in dialogue. 

But selective word choice is not limited to nouns alone. Whatever the scene might be, whatever the action… try to think of ordinary everyday nouns, verbs, and adjectives that you can change to make more authentic to your characters and their world. Instead of saying car, home, girlfriend, mad, sad, or glad, etc, ask yourself what other appropriate word(s) you can use. Doing this can drastically improve the writing without adding unnecessary length to the page. 

Comedy: Funny Is What Funny Does

Screenwriting Script Tips
The 2006 comedy Little Miss Sunshine isn't funny because it is full of funny characters. Academy Award Winning screenwriter Michael Ardnt didn't toss characters in a room and force them to make us laugh. The entire family, in fact, is a tragic mess: Grandpa is a foul-mouthed horny heroin addict, Frank is a gay academic with an inferiority complex and a suicide attempt survivor, Dwayne is an apathetic teen trying to evade his family through a Nietzschean vow of silence, Richard is a self-involved father pushing his quixotic nine step system on "How to be a Winner" onto…

Rounders (1998)

Screenplay Five Plot Point Breakdowns
Screenplay Genre: Crime / Drama Movie Time: 121 minutes 1. INCITING INCIDENT Having given up poker nine months earlier after losing $30k to Teddy KGB (John Malkovich), law student Mike McDermott (Matt Damon) makes a delivery to Abe Petrovsky (Martin Landau) during one of the legendary judges' poker games. Mike starts raising for Petrovsky and then bets Judge Marinacci (Tom Aldredge) a summer internship that he can guess the hand Marinacci is holding. To everyone's amazement, Mike is able to guess everyone's hands. They invite him to join the game, but Mike tells them…
Copyright © 2012 The Script Lab LLC - Help  |  PR Media Kit  |  Advertise  |   Site Map  |  Jobs at The Script Lab
Terms of Service and Privacy Policy / Safety Information / California Privacy Rights are applicable to you. All rights reserved.