I’ve gotten to read a lot of amateur scripts. Between reading for contests and offering feedback in the Screenwriters Network, I’ve read in the hundreds if not thousands of scripts. And you start to see trends when you read that much.
One misstep I often see comes from writers at in between stage of their development. No longer brand new at screenwriting, they’ve gotten familiar with the conventions and format. They’re seeking out info on how to be a better writer, getting feedback, and are on their way.
But at this middle step, the lessons learned aren’t yet fully understood. That just comes with time and practice. This results in scripts that mimic the feel of a strong piece of writing, but ultimately just havve the surface level elements figured out. This is what I call empty calorie screenwriting.
A prime example of this comes from the way they execute dialogue.
Dialogue for Dialogue’s Sake
One of the first things improvements new writers is learning scenes need conflict. Their initial scripts feel flat because the characters all agree and few obstacles get encountered. Everything happens too easily, when we want to see our protagonist work hard to earn their ending.
“Okay,” the new writer says, “I can conflict. I can add drama.” And for their next script, they make sure people are jostling and bouncing off each other in every scene. The script has conflict coming out the wazoo. Problem solved!
Except, they’ve only addressed the symptom, not the disease. Their ‘conflict’ often comes in the form of characters bickering. Pages of back and forth not motivated by objective or tactic or reveal anything about character, but simply there so the characters have something to argue about. But because it does have push and pull and mimics the feel of good dialogue, it seems successful. It’s all taste, and no nutrients or dietary value. Thus, empty calories.
Conflict doesn’t just come from two characters disagreeing on the page. It comes from them having opposed objectives and desires. Their pursuit of their goals means that they must work against each other. And that gives you real, substantial conflict.
The Take-Away
I think this is a necessary stage for most writers. I certainly went through it. Mimicking good writing is just a phase to work through as you figure out why it’s good writing.
So take this post as a helpful suggestion, rather than a chiding comment. And for your next script, ask yourself if you’re giving the characters in your scene objectives and tactics and letting the conflict flow from that, or if you’re just buttering up some more popcorn.