Adapting a book into a screenplay can be a challenging and rewarding process, but it also requires careful revision to make sure the script captures the essence of the source material while also meeting the demands of the film medium. Here are some best practices for revising a screenplay adapted from a book.
Before you dive into revising your screenplay, it's a good idea to read the book again and take notes on the main themes, characters, plot points, and scenes that you want to include or emphasize in your adaptation. This will help you refresh your memory and identify any gaps or inconsistencies in your script. You can also compare your screenplay to the book and see how you have translated the author's voice, tone, and style into dialogue, action, and description.
It's essential to remember that a good book doesn't make for a good Screenplay. Screenplays need to "show" the story, not "tell" the story. You also must be willing to cut scenes, characters, locations and dialogue that doesn't fit the rhythm or budget of the Screenplay. To adapt books based on historical events is also very challenging, especially when the Author feels a commitment to "cover everything" - which is just not possible in a Screenplay. These realities of writing a movie's script, based on a book are why so often we hear people bemoan "oh, the book was so much better than the movie!"
Another important step in revising your screenplay is to get feedback from readers who are familiar with both the book and the film industry. You can ask them to read your script and give you honest and constructive criticism on how well you have adapted the book, how engaging and coherent your story is, how believable and compelling your characters are, and how well you have used the cinematic elements of the screenplay format. You can also ask them to point out any strengths and weaknesses, as well as any suggestions for improvement.
A word of caution would be to get several people's/expert's notes and then look for the common threads of advice. Never take just one person's note as an absolute (unless they are the one who is actually paying for the movie). In general, like with anything else in life, you ask 10 people for their advice on something, and you will get 10 different answers, but usually a trend will start to form.
Based on the feedback you receive, you may need to make some structural changes to your screenplay, such as adding, deleting, or rearranging scenes, sequences, or acts. You may also need to adjust the pacing, tension, and conflict of your story, as well as the transitions, subplots, and twists. Remember that a screenplay is not a literal translation of a book, but a creative interpretation that has to fit within the time and budget constraints of a film. You may have to make some tough decisions on what to keep, cut, or change from the book, but always keep in mind the core message and emotional impact of your adaptation.
One montra that I have always used is this: "It doesn't have to make sense, it just has to make a good movie"! The next time you are looking at your scene cards, and you are roadblocked try thinking about my montra. Try writing an entirely new scene that follows an entirely new path. So, for a simple example: John needs to go to the store to get vegetables to make a salad for his dinner date with Kiki. Simple, right? But now imagine the store is closed. Normally he'd go to another market and buy the veggies, right. But how about using my montra? "It doesn't have to make sense, it just has to make a good movie"! What if John noticed a community garden, and picks the veggies he needs, and leaves some cash in a donation box?
Dialogue is one of the most crucial aspects of a screenplay, as it reveals the personality, motivation, and relationship of your characters, as well as the theme and tone of your story. When revising your dialogue, make sure it sounds natural, authentic, and consistent with the book and the film genre. Avoid unnecessary exposition, repetition, or clichés, and use subtext, humor, and conflict to make your dialogue more engaging and dynamic. You can also read your dialogue aloud or have someone else read it to you, and listen for any awkwardness, confusion, or dullness.
I find it very helpful to listen to multiple people talk and I especially like to focus on their accent, use of words, contractions, and analogical sayings. For example I have one friend who I'll call "Garth" he has kind of a Southern good ol' boy cadence and some of his sayings really make my head spin. I will link my memory of talking with Garth to a new character that I am writing. So when that new character is "talking" in my Screenplay, I actually "hear" Garth talking. I will ask myself, "how would Garth react or respond"? Then diligently I will transcribe that voice into my character's dialogue. I found that this really helps my characters come to life and express themselves in my mind's eye by linking them to real people.
Action and description are the other essential components of a screenplay, as they show the visual and auditory aspects of your story, as well as the mood and atmosphere. When revising your action and description, make sure they are clear, concise, and relevant to the story and the characters. Avoid overwriting, vague terms, or passive voice, and use specific details, sensory words, and active verbs to create vivid and compelling images. You can also use sluglines, transitions, and parentheticals to indicate the location, time, and tone of each scene.
The final step in revising your screenplay is to proofread and format it according to the industry standards and guidelines. You can use a software program, a template, or a manual to ensure that your screenplay has the correct font, margins, spacing, pagination, and notation. You can also check for any spelling, grammar, punctuation, or syntax errors, and fix any typos or inconsistencies. A well-proofread and formatted screenplay will not only look professional and polished, but also make it easier for the readers, agents, producers, and directors to follow and appreciate your adaptation.