I read a lot. I also watch movies and occasional television series. Recently I got to thinking about how novel writers and screenwriters differ.
In some ways a screenwriter has an easier job than an author. Take, for instance, “painting a picture of the scene.” When describing a scene, the screenwriter essentially “takes a snapshot,” something like: “you are looking down the beach, with huge cliffs off to the left, surf to the right, and a body down at the far end.”
He/she does not use too many adjectives such as azure sea, turquoise ocean, foamy waves, or 60-ft cliffs, ragged rocks, sandstone hills. No need. The snapshot, the images on camera of the actual place, capture all that for the viewer. 
The scene I’m describing, by the way, is from a BBC Series called Broadchurch, one of the most well-done, intriguing and dark stories I’ve seen. Instead of spending myriad words to let the reader “see” the image, the stage is, essentially, pre-set by reality.
Rather. the screenwriter spends considerable time on the characters and, probably to a lesser extent, on the plot. In Broadchurch, the plot is riveting, starting with the murder of a young boy. And it twists and turns its way through the episodes with skill and bravery, to end with a, pardon the expression here, a cliffhanger.
You always want to return to the next episode. You always want to turn the page.
Chris Chibnell is the screenwriter of Broadchurch, and no, the book (written by Erin Kelly, along with Chibnell) came after the screenplay–isn’t that interesting? Chibnell’s past credits include Doctor Who and Torchwood, but Broadchurch catapulted him to screenplay stardom.
What Chibnell does so masterfully, and we authors need to take a lesson, is character development, growth and change. The Broadchurch characters start out one way, they grow through the series and, somehow, almost magically, are transformed by their experiences. They have learned and matured; they have gained strength and resilience. And they continue to change, giving the viewer hope they will survive no matter what the future holds.
This is a concept we novel writers need to infuse in our own work. Character development, however little, is BIG. Don’t minimize it and its effects on the audience (reader.) Without being a spoiler, I suggest you watch Broadchurch, and, in particular, the character of Ellie Miller.
Great collaboration when egos don’t get in the way. The end result benefits from this.
Hi Kathy,
Have you seen Broadchurch? You make a good point about egos! Thanks. Hope all is well!
If time is money you’ve made me a weetahilr woman.
What is weetahilr, Rosie?
Screenwriters are inherently different in a number of ways from us fiction writers because of the very nature of structure. The structure is different, the Unities are different and the writing is different. Novel writers already use an arsenal of tools and literary devices, including multidimensional characterisation, to great effect.
There isn’t much we can learn from screenwriters, and characterisation isn’t one of them. That’s one of the very first things every writer should get sorted before even committing one word to a story. Character development throughout a novel has been around since man first started telling stories. Bildungsroman is a vital component we use all the time. Screenswriters should learn from us!
Thanks, AJ. I think we can learn from each other!
Broadchurch was indeed a genius job of writing, acting, and filming … yet my wife and I gave up on it after three episodes. It was just *too* dark and depressing, we couldn’t hack it. It just goes to show: No matter how brilliant a creation is, it just isn’t going to attract everyone.
Good point, Mark. Yes, Broadchurch is very dark. So many movies and series are. What does that say about us as a society, I wonder. Thanks for reading.
I’m a screenwriter and an author. I love the short straightforwardness and pace in screenwriting. However, I love the freedom of worldbuilding and character development through in-depth details. Both screenwriting and novel writing are great skills that will only enhance your story. I always encourage authors to try their hand at screenwriting. It will tighten up your writing and help you create awesome cliffhangers at the end of each chapter.
I agree. Thanks, M.J.
M.J., I second Lynne’s vote.
Thanks, Max!
Contrary to many defensive opinions I’ve read both here and on LinkedIn, there is always something to be learned from screenwriters. With a screenplay, film is obviously a visual medium but the screenwriter has to convey in the most succinct way possible the atmosphere, tonality and color of the setting in as few words as possible. With a novel, one has the luxury of time and unfortunately, many authors become self indulgent believing that every word they write is golden. It isn’t. The real issue is that yes, as authors we should still get to the point and not bore the reader.
Screenplay dialogue is completely different then novel dialogue. With the former, there are many words that are useless to moving the story forward: and, so, I, but, to name a few. The point being that screen dialogue doesn’t reflect conversational dialogue. With a novel, we have the indulgence of blank pages and thereby lays the rub of pontification.
By way of qualifications, I’ve written over thirty-three screenplays for producers and companies. As a novelist, my first effort won Best Thriller at the 2015 Beverly Hills Book Awards. This, but no means, of course, makes me an expert, but does gives me a little practical experience; bildungsroman notwithstanding.
All excellent points, Max. Thanks. I didn’t dive into dialogue here. Much too much to say for this blog.