Writing to Pictures

The test of a really good television script is whether it makes sense when heard with the eyes closed. Oddly, it shouldn’t–quite–because what is missing is that essential pictorial dimension. So the starting point for any journalist who hopes to produce anything more than run-of-the-mill commentaries is recognition of the principle that words are tailored to pictures, not the other way round. It follows the only way this can be achieved is by viewing and assessing the edited material before writing the commentary.

Regrettably, time pressures on writers have become such that the temptation to take the lazy way out and dash off recorded commentaries to which the pictures are then cut to match has become almost irresistible. The result in most cases is dreary ‘wallpaper’ which adds nothing to understanding and almost certainly omits shots which would tell the story more effectively. Failing to give the picture editor freer rein to select the most appropriate pictures shortchanges you, those who took the pictures, and the audience.

Golden rules of writing for television

● View the pictures and listen to the sound. While the picture editor’s technical skills, advice and collaboration are essential ingredients, the journalist must be the arbiter when it comes to editorial priorities. It is impossible to judge the work you or others have done in the field unless you are present at the pre-edit stage.

● Choose the pictures and sound most appropriate to the story you are aiming to tell. Pay attention to any detail which might make a good script line and try to work out roughly what you might write. Don’t be inhibited or hurried into agreeing to the inclusion of shots or sequences which are irrelevant, merely pretty, or do not contribute. If your story has been allocated a firm duration, work to it, otherwise you risk being asked to re-edit. At the same time, always be on the look-out for qualities which make your story of greater worth.

● Leave the picture editor to edit.

● Shot-list the final version. This is second in importance only to the Rule of Viewing. Shot-listing is a means of ensuring there will be an accurate match between words and pictures. The procedure consists of noting details of the length, picture and sound content of every scene in the edited story (see opposite.) As with the pictures-before-words principle, shot-listing may be regarded as old-fashioned, but be assured it will guarantee a better product.

● Write the script working from the shot-list.

● Record the commentary. If there is time, rehearse to make sure the words fit. If adjustment is needed, it is easier to change the script than the pictures.