How to Avoid the Scenes Script Readers Skim

I just finished a new spec script, and one of the things I really tried to do this time was to make sure each scene absolutely mattered. I didn't want any fluff. Just a story that kept the reader engaged and locked into the plot and characters.

It was a lot harder than you think...and also, I won't know if it worked until we take it out into the world and get some solid feedback.

I was inspired to do that by a script breakdown from Scriptfella, who explored a common trap that even promising writers fall into: the "cliché opening" that causes readers to mentally check out before the story even begins.

Let's dive in.

Make Each Scene Matter

Okay, so this whole video uses an unmade TV pilot titled Rough Seas as a case study. Basically, we're going through it to see what readers skip.

Rough Seas follows a retired pilot and his "reluctant, menopausal wife" as they trade Colorado for a life on a boat in the Florida Keys. It's pitched as "Schitt's Creek on the water.

But right at the start, the screenplay hits a snag.

The story opens with a boy on a bike throwing a newspaper onto a lawn in a regal suburban neighborhood. Scriptfella noted that while the imagery was well-written, it’s a scene readers have seen hundreds of times.

So how do you make your version of something we've seen a dozen times pop?

3 Rules for High-Impact Scenes

To prevent readers from skimming, Scriptfella had several key technical and creative adjustments the writer could make in order to get attention right away.

1. "Conflict is your Nitroglycerine"

Stop opening your TV scripts on generic scenes. If you want to introduce characters effectively, do it through conflict.

What can be going wrong when he meets people? We want to know these characters in the midst of something crazy going down, or something that really stands out.

Shake it up and give the reader a scene they have never seen before.

2. Kill the Adverbs and "Passive" Action

Scriptfella pointed out a few common mechanical errors that slow down a reader's pace, which involved passive language.

We're big on action verbs here at No Film School. You want to write your prose in a way that engages people and pulls them in. His example is instead of "A bronze handle snags her sweater," use "She snags her sweater on a handle." This keeps the focus on the character's frustration.

The other thing he points out that I think people forget about is the adverb overload.

Phrases like "quickly pulls out" or "literally bounces" are often unnecessary and slow the reader. Choose another verb that shows how things are done, like with power or even futility.

3. Don't Waste "Real Estate" on Appearance

Describing a character simply as "attractive" is a waste of space. "They’re movie stars; of course, they’re attractive," Scriptfella says.

Instead, use adjectives that reveal character or personality rather than just external looks. How do they behave in a conflict situation, or what are some physical attributes that make them stand out like a limp?

Ideally, you're introducing people DOING things so the audience gets a sense of who they are.

Summing It All Up

Script readers are already overworked and underpaid. You want to make sure every line serves your voice on the page and makes you stand out as a writer, and keeps them engaged in the story.

The more conflict, the better, and don't waste time on superfluous actions or ideas. Just get to the point and keep the story moving.

Let me know what you think in the comments.