Why Aaron Sorkin Acts Out Every Scene Before He Begins Writing (And Why You Should Too)

When you think of fast-paced, whip-smart, and rhythmic dialogue, you immediately think of Aaron Sorkin. It's hard to pick which projects I love the most, from A Few Good Men to The West Wing to The Social Network , where Sorkin's style shines.

But how exactly does he craft those iconic exchanges?

In a newly released clip from his MasterClass, Sorkin dives deep into his personal and apparently physical writing process.

He actually acts out scenes before he writes them.

Let's dive in.

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Get Up From the Keyboard and Act It Out

For Sorkin, writing isn't a passive activity. "When I'm writing, I'm very physical," he explains. "I'm talking out loud while I write, I'm playing all the parts, I'm getting up and down from the desk, I'm walking around".

When a scene is really flowing, he gets so caught up in performing the dialogue that he once actually broke his nose flailing around for a scene.

Now, you don't have to cause yourself harm, but if you want to know if your dialogue works, you have to hear it out loud. Performing your own scenes helps you discover if your words are genuinely "speakable" or if they just sound like clunky, unnatural writing.

Record them, and you can even listen back to your movie later!

Script the "Hiccups"

Many writers leave the "ums," "ahs," and stutters to the actors to find in the moment. Sorkin does the exact opposite. Once he has the foundation of a scene, he goes back in and meticulously adds the idiosyncrasies that make people human.

He actually puts every false start, interruption, and overlapping line of dialogue onto the page, so people know exactly how it plays out.

This musicality to his work is his brand, but it's something you can emulate to make your scenes feel more "real."

'The Social Network' Credit: Sony Pictures Releasing

"Anytime someone is speaking for the purpose of performance... all the rules of music apply," Sorkin states.

When you zoom out and look at a feature film or a television pilot, Sorkin argues it holds the exact same properties as a symphony. Your script needs its solos, its duets, its allegros (fast, upbeat tempos), and its adagios (slow, sweeping tempos).

So start conducting on the page.

Don't Repeat Anything

With all these lines swimming around, you may think there will be a chorus or something, but Sorkin's number one golden rule is never to repeat information.

You want the audience to always be listening to something new.

That way, each scene feels fresh, like a new track.

Summing It All Up

Look, I'm a huge fan of whatever it takes for you to get words on the page. And if that's dancing around and trying to act, then go for it.

What do you think of Aaron Sorkin's physical approach to screenwriting? Do you read your own dialogue out loud, or do you leave the performing to the actors?

Personally, I like to do all the voices myself.

Let us know what you do in the comments!