Using The Shot-List

Try to start writing as soon as you have completed your shot-list, before the mental picture of your edited story begins to fade. Put three words–a second’s worth of script–on each line of a ruled pad, or program your computer to do so. It is surprisingly easy to lose track once you have strung 30 or 40 seconds’ worth of script across a page.

Do not waste time ‘polishing’ your prose as you go along. Complete as much of the script in rough as quickly as possible. First thoughts often turn out to be best, and in any case you may not have very much time for elegance.

It’s not necessary always to start working out your commentary from the opening shot, especially if you are prone to writer’s block. Select any key scene–in the case of our example, probably the moment, 22 seconds in, when the young fan hands her bouquet to Mrs Soapstar–and start to write around that. Once you are over the first hurdle, the rest of the script should begin to fall into place.

Common errors

●  Mistake One is to try to cram in more words than the duration of the pictures will allow. Given the formula of three words a second, the 45 seconds of Mr and Mrs Soapstar’s activities can be covered with a maxium of 135 words if they are still to make sense. More words than that and the pictures will actually run out. Let the pictures ‘breathe’. The best script is often the one with the fewest words.

●  Mistake Two is to write without taking proper notice of what the pictures contain. Instead there are detailed references to people, places or events which do not appear. It’s guaranteed to irritate the viewer, who has come to expect to see whatever is being described. The same applies to sound. If it is necesary to refer to something which cannot be illustrated, do so obliquely without drawing attention to what may be missing from the coverage.

●  Mistake Three is to produce what amounts to a series of captions explaining exactly what the audience is able to see for itself. Sentences will be too long and the style heavy, more suited to the printed page. Let the words and pictures ‘touch’, lightly and sensitively. Don’t state the obvious or simply repeat what is happening on the screen, and vary the length of sentences to avoid sounding stilted.

●  Mistake Four is carelessness about accuracy. Example: if you are writing about the number of cars on the road, the shot should show cars, not predominantly lorries or buses. If you are uncertain use general terms. In this case ‘traffic’ would cover anything from bicycles to juggernauts.

The mechanics of picture-scripting

Write one second’s worth of script – three words – to each line. It’s easier than stringing the commentary across the page when you are trying to match specific shots (1). It often helps to start by drafting your words around one key scene (2) rather than at the beginning of the pictures. The rest of the commentary should fall easily into place afterwards. If you are using a computer system it may do the job for you: in any case the final version (3) should be double-spaced and set out with the text on the right, the opposite side of the page left for technical and production instructions.