42 Films India

If at any point in time, this question has crossed your mind, this article is for you. 

Unless you’re a highly experienced screenwriter or have been (fortunate or unfortunate enough to be) trained in Hollywood, you probably don’t know the distinctions between these three roles. That’s okay. In India, we often don’t take these titles too seriously, and that works for us. However, understanding these sub-specialties can help you decide whose assistance you need when writing your screenplay. 

Remember, in the end, YOU are the expert on YOUR screenplay. No one else knows the story in your mind better than you do. With that in mind, let’s break down these terms for you.

Script Development

A Screenplay Development Agent or Script Consultant is brought on at the beginning of the writing and pre-production process. They are experienced writers and screenwriting experts who understand filmmaking inside and out and can think strategically about how the written word translates to the audio-visual medium.

They typically don’t rewrite the script but provide extensive feedback on the story, script, screenplay, characters, flow, and consistency. The writer and producers then incorporate or discard these notes before the next rewrite.

Script Doctoring

Script Doctors can be brought onto a project in two ways.

First, they might join during the writing stage, especially if a producer has purchased all rights to a screenplay from the original writer. In these cases, the script doctor might be asked to rewrite some or all of the screenplay. However, they can’t contribute many of their ideas or characters to the script.

Second, they might join just before or during the shoot to rewrite specific scenes or sections that don’t match the overall pacing or need significant dialogue improvements. Again, their scope for change is limited.

The primary skill of a script doctor is the ability to match the established style and tone of the writing without letting their personal style influence it.

In India, we often lump script doctoring and screenplay development together, but they are quite different. If you’re looking to hire one or the other, be clear from the outset about what you need—whether it’s feedback or rewrites—and describe the details of your requirements.

Script Editing

Script editing is similar to but distinct from traditional copyediting. While copyediting involves revising text, checking grammar and syntax, and ensuring style consistency before publication, script editing has unique requirements.

Since our writers were recently discussing this topic, we’ve compiled some essential notes for all editors to keep in mind when hired to edit screenplays.

Motive – In screenplay editing, the primary motive is to keep it visual. Sentence structure is secondary to the visual idea it conveys. Length is also a key consideration, short sentences are preferred to keep the script concise and visually engaging.

Word Choices – Script editing involves careful use of adjectives and action verbs. New screenwriters often get lost in descriptions, but a visually engaging screenplay doesn’t mean it should be filled with adjectives. When describing actions, it’s enough to mention that a character is running away fast once; we can assume this continues unless stated otherwise. Even if the scene cuts away and returns later, there’s no need for repetition.

Style – While it’s important to maintain the writer’s style, it must be balanced against the need to conserve page space and contribute to the script’s progression.

Proofreading – To tackle the grammar and spelling of each script, we need to consider the predominant language the final film will use. A majority of scripts written in India today are in English or a mix of English and a native language. A writer might deliberately use an Indian form of English to evoke specific responses from the audience. Let us give you an example: there are many bastardized pronunciations of English words we use in India—like “vater” instead of “water” or “daeinger” instead of “danger.” A writer may use these for comic effect or to differentiate between regions of India. Strict English spelling checks would ruin the intent behind these choices.

The same applies to syntax. English spoken in India has its own rhythms, and trying to change this would disrupt the dialogue choices the writer has made. This isn’t to suggest that every error is deliberate; a proofread screenplay is always preferable to an error-ridden document. It’s crucial, however, that the editor understands the writer’s intended choices.

Formatting – Formatting is the only stage of copyediting that we recommend be strictly adhered to throughout the process. Screenplays should adhere to internationally accepted standards of formatting. 

For any writers wondering why this is important, consider this: producers and actors read thousands of scripts each year—your script is competing with all of those. Accepted formatting is the bare minimum expected for your screenplay to be considered professional.

We want to leave every writer with one reminder: any feedback you receive or rewrites that are implemented should contribute to improving and clarifying your vision. Otherwise, that feedback and rewriting process isn’t worthwhile. 

If you encounter a screenplay development agent or script doctor who belittles your script or imposes their ideas against your wishes, they’re giving you bad advice. Trust your instincts and walk away. Constructive feedback is essential for progress.

This skill comes with practice; it’s not innate. Collaborate with co-writers, partners, or development agents, and keep practicing your craft. Go forth and conquer the page!