Screenwriting : Which way to Go ? by Lalit Sabherwal

"One should create the world of Character and increase the pace of story slowly?" Do you mean a "slow burn" script, Lalit Sabherwal?

Maurice Vaughan Not "Slow Burn".

the tempo rhythm is chosen by the director. there are different diagrams of the intensity of the plot, the author is free to choose any of them.

Depends entirely on the tone of the film, how you want it to unfold. IMHO either works.

Ok, Lalit Sabherwal. I agree with Andrew Rajan.

Arthur Charpentier I agree that tempo rhythm is chosen by director but that will be done on a finalized screenplay which will already be written.

Andrew Rajan and Maurice Vaughan Thankyou

You're welcome, Lalit.

Those questions are too broad, too general. It really all depends on the story you are trying to tell. You could say, that you dictate the pace, that you need to be in control of your story. To do that you need to know your story, your characters and what the endgame is. It’s all

about planning.

Many genres have expectations. Action screenplays tend to start fast. A thriller will start with suspense.

You are talking about “pacing” which is a tool. Like all tools they have a use.

I like to change pace. Give people a chance to get their breath. In “The Valley” there are two story lines at the start. One is quick, the other is slower. They come together at the midpoint at a slow pace. Then it becomes an action film for 40 mins. A slow start to act3, ending in an action sequence.

It depends on your voice, the story you want to tell. I typically leap right into it at Mach One Jesus but I received notes on my last script that readers were not connecting with the characters before the story really went into overdrive. So, I did a rewrite and eased into the action a bit more. In the end, you need to do what is best for the story and your question is general and I'd need specifics to give specific answers.

Tom I think when we write a story, we are wrapped up in the whys and wherefores of it all and maybe can't see what is an obvious flaw, or problem for a reader. It was only when a Producer and I started talking about a script, that I could see some of the problems she was relaying. It really helped me to pull back and get a different perspective on it. I rewrote scenes, or deleted the ones which would put too much pressure on the budget - and of course it was up to me to fill any plot-holes in the story. However, sometimes pressure like that, of having to find a solution, really kindles the imagination. The script was all the better for it.

I've experienced those things, Geoff Hall. "It was only when a Producer and I started talking about a script, that I could see some of the problems she was relaying." Sometimes when I talk to a producer, writer, etc. about my script, I think of things about the script that I never thought of while writing it.

Maurice Vaughan it's true, Maurice. Yes we know the world we are creating better than anyone else, but sometimes the way we convey that knowledge causes a reader/Producer problems. It pays to be open to rectifying those problems and not take it as an insult!