42 Films India

The golden rule in most types of narrative writing is “Show, Don’t Tell”. Simply put, it means that the writer should show the actions, reactions, and consequences of an event, thought, or emotion rather than telling the audience about it.

This rule not only strongly applies to screenwriting; it is the foundational pillar without which a screenplay cannot exist. Screenplays are written for an audio-visual medium. Without visual or sound cues, the screenplay’s purpose is defeated.

In this article, we will explore some simple tips and hacks that can help newbie screenwriters stick to this golden rule.

Always Write in the Present Tense

This is not just a hack in screenplay writing; it is another one of the foundational pillars on which a good screenplay rests. It is also one of the best ways to adhere to the “Show, Don’t Tell” rule. Let us illustrate this with an example. You’re a screenwriter who has decided to write a flashback sequence:

FLASHBACK – INT. SHANKAR’S HOUSE – DAY
Shankar has become a father. He was happy at that time that he had a son.

In this scene, how do we know that Shankar has become a father? Have we seen him holding a newborn baby? If he is, how do we know that the baby is his? However, if we start writing in the present tense, we are forced to use verbs that show us visuals. The writer can’t just say, “Shankar is becoming a father”; that won’t make sense to anybody. Instead, they may write:

FLASHBACK – INT. SHANKAR’S HOUSE – DAY
Shankar, holding a newborn baby, enters the house with his tired-looking wife. His family welcomes them home with balloons, banners, and cheers. As he walks into the house, his relatives clap him on the back in congratulations and coo over the baby. Shankar smiles proudly.

This is how writing in the present tense helps us “show” instead of “telling” the audience the story. Whether it’s a flashback or the future, a montage or a song sequence, always write in the present tense.

Visual Stereotypes are your friends.

Visual stereotypes come in handy when writing with the golden rule in mind. Don’t be afraid to use them.

You might think that these stereotypes are reductive and don’t do justice to the nuanced character you have in mind. But the purpose of these stereotypes is to give the reader a familiar and recognizable starting point. You can build upon that starting point as your screenplay progresses. With these stereotypes, you are building a framework for your reader’s imagination, inside which your character or setting can now work. Let’s take a look at an example:

INT. CITY REGISTRAR’S OFFICE – DAY
VIMAL (mid-50s, pot-bellied) – wearing a white Veshti, white shirt, and oiled hair – strides into the office with an official-looking entourage in tow.

Or

INT. BASEMENT – NIGHT
A long dark room, thin bands of moonlight fall on the floor from the high window. Low but periodic sounds of a thick liquid dripping are heard as Shwetha takes a timid step inside.

Reading these scenes and character descriptions, we can assume that (a) Vimal is a politician or a high-ranking party member and (b) Shwetha is entering a haunted room. This might later prove to be untrue. However, the writer can now build upon that simple framework in the reader’s mind.

The alternative to using visual stereotypes is to use long-winded explanations. Those long explanations are more suitable for a novel rather than a screenplay. Most of these visual choices will end up with the film’s director during production, so writing detailed explanations is counterproductive.

Bite-sized paragraphs

When writing in a “Show, Don’t Tell” manner, screenwriters often find themselves writing large chunks of text describing scenes. For a new writer, this cannot be helped. We suggest that new writers only try to condense the writing during the editing and rewriting stages, not in the first few drafts.

However, when faced with a large chunk of text on your screenplay page, we recommend (and it is also the industry standard) that the writer split the text into bite-sized paragraphs. You don’t want to scare the reader or producer away with margin-to-margin text. Limit each paragraph to 5 lines maximum.

In the case of fight sequences, montages, chase scenes, and even songs, breaking the paragraphs down into smaller chunks will help the reader digest each choreographed movement or visual analogy that you are trying to convey.

For large dialogues, try to break them up with the actions the character is performing during the dialogue. For example, if a character is washing dishes and talking at the same time, break up the large chunks of dialogue with details on how the character washes the dishes. This will force you as the writer to keep the overall visual in mind as you write.

We hope these simple tips have clarified the importance of “Show, Don’t Tell” and will help you apply this golden rule to your screenplay writing. Remember, mastering this technique can significantly enhance your storytelling and captivate your audience. If you have any questions or need further guidance, feel free to reach out. Happy writing!