Apologies for the late arrival of instalment three, it's been an extremely busy couple of weeks...

This time, it's about Coherence:

A major problem with a great many scripts is that the piece as a whole simply doesn't hang together. There might be brilliant characters, dialogue, scenes, ideas ad infinitum, but if they don't cohere into a whole, then your script won't hit the mark. The key to this is to know your world and story. (Preferably before you start turning an idea into script form.) This clarity needs to come early on. So make it clear what your world is, and what is the story you are telling. There's an adage (perhaps more myth than truth) that when the writers of Twins sat down each day to write, they would turn to one another and say: "What are we writing?" The answer was: "It's about twins who look nothing like each other!" With that always in mind, they were able to stay focused.

The other thing you need to know is your genre and tone. New writers frequently collide various genres and tones. Sometime they claim to be reinventing genre - or are refusing to be limited by it. But you need to be able to master a form to do this - and often it's more likely because they're not sure or clear. Genre isn't a bad thing. Genre is how we decide as an audience whether it's the kind of thing we thing we'd like to see. So use genre. Be clear about what your 'show' is. Then you can challenge, play, subvert it.

Give us a focused way in. A big problem can be the desire to give the audience a snapshot of all aspects of the world at the start. But remember Shameless - a 'gang show' about a wild family squashed into a very small house. Opening credits aside, series one, episode one could have spent the first ten minutes of the story giving us glimpses of the whole family. But in fact episode one is focused through Fiona's POV, and is filtered through her meeting Steve for the first time at a nightclub away from the Chatsworth estate. Then they go back to the Gallagher house. Then they spend the night together. And then he meets the family properly. This gives us a focused way in to the world.

Following on from this, writers often try to do too much in their opening ten pages. But you don't need to set up every storyline, every strand and every character straight away. Again, find a focused way in so that you can then open back out again.

Beware beguiling distractions. It's easy to write characters, dialogue, scenes that you love. But do they need to be there and do they help cohere the opening of your script? What you leave out is as important as what you put in. And it's very hard to un-write or cut things that you like. So try to have a clear sense of what needs to be there before you start writing.

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  • Comment number 4. Posted by science_world

    on 28 Dec 2008 00:28

    Thanks for these little sessions, Paul.

    I have what i think is a great concept that there isn't a lot of at the moment.

    I know its a genre but i don't know what medium it would be best on - TV or Film. I'm wary of all the mediums. TV - it could be an endless recurring series. Film - possibly not enough time or far too many sequels.

    This is all coming from what you say - i don't know the story enough or possibly at this moment in time what the story is?

    The thing is, with this concept, there is so much i want to explore in character terms that i'm finding it hard to focus in on one particular story.

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  • Comment number 3. Posted by Antonia

    on 17 Dec 2008 21:00

    Thanks for this, Paul. Really appreciate the time you experts put in.

    Yes, it's great trying it all out, but does it work? That's what you need to have the onfidence in knowing, I think. And, sending it out to find out if other people agree!

    But thee are very good pointers, especially the Shameless example.

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  • Comment number 2. Posted by Paul Ashton

    on 16 Dec 2008 11:56

    terraling: yes indeed, putting it into practice is the hard part. Re: Wallander, because it is an international coproduction rather than simply an in-house show, it might not be possible to get the script on the site unfortunately

  • Comment number 1. Posted by terraling

    on 15 Dec 2008 17:19

    Excellent post, really getting to the rudiments now of what elevates good work to better. Now there's just the tricky matter of going from knowing what's required to how to achieve it.

    A little off topic, but any chance of getting Wallander up in the script archive? Really excellent, and it would be interesting to look at the script to study how much is down to the writing and how much to the very high production values. It's hard to isolate one from the other when watching (and enjoying) it. I'm guessing the budget was much higher than for a typical drama.

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