I recently read a screenplay from an aspiring screenwriter who wrote with such style and concision, such precision and beauty, that I couldn’t help but fall not only into their story, but into their wonderful world of words also.

It was the poetry.

When you think of poetry you might think Dickenson, Poe, Frost, Angelou, or any number of the great poets in history; but it’s slightly different for screenwriters. Our words are not the most appreciated aspect of our work, nor should they be; it’s a visual medium. In fact, it’s even encouraged by many to simply cut to the chase; get it over with; get in, get out. And quite frankly, this is our exit.

Professors, screenwriters, authors of screenwriting books – they’ll all tell you you’re crazy for even thinking about associating the word poetry with screenwriting. You’re not.

So back to this script I read. I can’t tell you what it’s titled or who wrote it for that matter, but I can tell you that it’s the first to really catch my attention due to the writer’s ability to compose words and sentences so eloquently – I’ve read hundreds upon hundreds working as a reader!

Before we delve deeper into the why, let’s first identify what I’m talking about. Description … it’s the heart of your physical screenplay. Without it, there’s no action; no characters; no conflict; no story; simply nothing. It makes up the bulk of your work, for you’re working in a visual medium. when you read a screenplay, it usually looks something like this:

“It’s raining. It’s pouring! The little boy, too scared to go to sleep, jumps from bed, scoots into his grandfathers room where he sees that …

The old man is snoring!”

Well, maybe not quite as silly (though i’ve certainly seen it), mediocre screenwriting consists of blunt description without mystery. The goal is to create questions in the reader’s mind. What’s going to happen? How are they going to get out of this one? In addition, let’s not forget about the one reason we’re all writing … the reason why were attracted to write in the first place. This brings us to the secret behind it all:

Emotion.

As the writer, it’s your job to not only tell a story; you must play with the emotions of your audience. In this case, it’s your readers. Consider this:

“A torrential rain pummels the small house. Lightning strikes, thunder roars.

The little boy sits still, too fearful to turn his head. Petrified.

His grandfather knocks on the door, peeks in. With a gentle smile he enters with a blanket in his hand. The little boy smiles.

Okay, it’s not the best example, but I’m writing on the fly here! The point is, whether I’ve made it or not, you have to care about your description. You have to explore your story responsibly through your description. Build the visuals in the reader’s mind. Give them something to see. If you merely whip through your description without pulling your punches, your reader will definitely return the knock out in your coverage.

So how do you know mediocre description when you see it? Easy. Consider what your outline for your screenplay, sequence, or scene would be, then consider what your description would be in any scene within the whole – if your description looks or sounds anything like your outline work, you’re in trouble.

Jumping back to the initial idea for this article, let me explain what I mean by poetry in screenwriting:

Poetry in screenwriting is the creative use of words … to the point where the description is actually beautiful to read. If you’re not savvy in this department, think of it this way: Poetry is like a photograph – not only how it looks and the overall composition, but the overall emotion it evokes when it all comes together. Known as Mise En Scene in the filmmaker’s trade.

What’s so hard about it? It takes talent, as you’ve probably learned from my disaster of an example above, as well as time, effort, knowledge, vocabulary, and a passion for words and how they affect the reader. It’s an art. It might mean thinking over whether or not to include a single adjective, comma, or period. It’s the art of poetry, which has been squeezed out of screenwriting thanks to popular tips from professors and gurus.

This all being said … there’s definitely a balance that must be met, just as with all aspects of screenwriting. Striking that balance might mean the difference between a consider and pass, so be careful.

Forget the “rules” of description, and explore your story on another level; a subtle level, but a level non-the-less. Release your artistic expression in the subtext of your description. Believe me, readers are craving it.

Tips poetry in screenwriting:

1. Concision
Truly one of the most overlooked aspects of screenwriting. Keep your word usage to a bare minimum. Don’t meander. Poetry in screenwriting does not equal flowery prose. Say what you want us to know, and move on, but do it with style. If you’re interested in chatty screenwriting consider blogging … producers don’t spent millions of dollars on every post.

2. Precision
Not quite the same as number one, but close. Know what you’re saying. Know what your words trigger in your reader. For example, if you believe the world of origin in act one should be depressing, consider a torrential downpour of rain, a bleak collection of fog and clouds, or even loud neighbors. Hey, it’s your screenplay and whether you choose to set it in a small house on a farm, mid-town suburbia, or in the city is up to you. Create your setting with efficiency.

3. Composition
Yes, it’s wise to keep it brief. Break paragraphs however you feel you should – you’re the screenwriter, you can do what ever you want. If, for example, your characters are sharing a romantic moment with each other while stuck under the stars in the middle of the Indian Ocean, you might choose to write one giant block of description to amplify the feeling of rapid escalation, loss of control, etc. Though it’s risky, and most will probably look down upon it, if it’s how you envision the writing of that sequence, so be it. It’s your work, and just because you explore a technique doesn’t mean your script will be passed on. If your work is good, you’ll be noticed.

The number one common mistake I see from aspiring screenwriters is the lack of creativity. Strange huh? Screenwriters seem to forget that they need to bring their settings to life. It doesn’t have to be the focus of the work, but it should definitely effect the story. If it doesn’t, you might as well set your story in a white box.

You’re a screenwriter! You’re one of the only creative forces left in the film business … so, don’t forget to be creative. If you’re not, how can anyone else be after you?

So, I’m thinking, yes. Yes, poetry can survive in screenwriting.